
6/^' 



t 1 





/ 



Bias Velveteen 
Skirt Bindings. 



The Brands w^hich bear 



THE POPULAR 



6> 






Vie^^^ ARE 



THE PRIDE, ---!;< inches wide. 

THE BELLE, - - - 2 inches wide. 

THE DUXBAK Rinnpmof, - 2 inches wide. 

THE REDFERN Bias corded Velvet, i^ inches wide. 

T^HEY are all put up in bolts containing 4, 5 and 6 yards, and 
■ on reels also containing }6 yards continuous length. 

The trademark, *♦ S. H. 6c M.,'* is plainly printed on the 
label of every bolt and reel. 

Ask for ♦* S. H. & M." and be sure that you receive it. 
Some unscrupulous dealers are trying to palm off inferior bind- 
ings by preventing the customer from seeing the label, or by 
substituting something claimed to be "just as good." 

Accept only *'S. H. & M" and you are sure of a good 
binding. 

IF YOUR DEALER WILL NOT 
SUPPLY YOU. WE WILL. 

Samples showing material and genuine labels mailed free. 

The 5. H. & M. CO., 

P. O Box 699, New York City. 

I 



VELVET IS IN FASHION. 




AWT jy BOULEVARD 
• Vt • D* VELVET. ^^ 

Wear Guaranteed. 
THE NEWEST PRODUCTION IN VELVET. 

24 inches wide. Jet Black, Blue Black and all colors. 

Dotbing so DKSsp as Veloen 
Dotbing more StplisI). 

A. W. B. Boulevard Velvet is especially adapted for 
Capes, Costumes and trimming. It cannot be distinguished 
from SILK VELVET ; has the touch, finish and appearance, 
and for wear is unsurpassed. 

A. w. B. 
Each yard stamped : ^o^^^^-^^^ ^elvet. 



WEAR 
GUARANTEED. 



if your dealer cannot supply you write to 

P. O. Box J262, New York City, 

and we will send name of nearest dealer. 




TEETH AN-^ BREATH 










As Fragrant and Refreshing as the 
Flowers, Sozodont has been the 
favorite Dentifrice with people of 
refined tastes in this country and 
abroad for fifty years. 

Readers of Home Dressmaking who have 
not yet tested those remarkable qualities 
which have made Sozodont famous will re- 
ceive by mail a sample of li(}uid Sozodont, 
and a cake of Sozoderma Soap for the skin, 
pn>T/(f('d they give the name and 
w address of their druggist, state 

J^*' whether he keeps ^ozoaont in 

%vj^_j,y^^ stock and mention Home Dress- 
making. Address the Proprie- 
tors of Sozodont, Hall & 
Ruck EL, Wholesale Druggists, 
New York. 






American Beauty Rose^ 

PnOTOCffAP/i£D £XP/i£5SLY fOR SoZODOJSr 



CLEAN, 
DAINTY 

HEALTHFUL 



AND 





dressing is made doubly sure when the 
wearer insists on having hosiery and 
gloves of HERMSDORF dye. 



Absolutely Stainless 
Fast Black 

is what LOUIS HERMSDORF has 

produced for the people, and the world 
owes him a debt of gratitude* 



When shopping at the Hosiery or 
Glove Counter for black hosiery or 
gloves ask the clerk, "Are these 
Hermsdorf dye ?" 




THIS TRADEMARK 



on Hosiery and Gloves 
is unquestioned and is 
world-famous, 



V* *^ t^ t^ ^* V* t^* 




The sweetest finish to a gfown is a Sachet 
of Violet, Heliotrope, "White Rose, Stephan- 
otis, Lilac, Etc*, fastened inside of the waist, 
which gives a delicate odor that is refined 
and select. This is the custom of all fash- 
ionable French and American modistes. 




Sachets 



are universally used to convey a delicate 
odor to Ling-erie as well as to Dress Waists. 



y 



/ 



J. & E. ATKINSON'S 

(24 Old Bond St., LONDON) 

SACHET POWDERS and 
FLORAL EXTRACTS 



BClDdre of Are the BEST that 

pAA|* can be made. 

/ Perfumcrp ! ^J'^ 



/. _™„.™ 



/ The extracts of J. & E. ATKINSON are man- 

'^ ufactured from floral products only, and are 

free from all chemical odors which are the 
bases of so many heavy, offensive perfumes. 

^^ ^^ ^^ ^^ ^^ 

Amotig a lai^e list of these Perfumes which have a world-wide reputation are 

ROSE, VIOLET, CHYPRE, 
STEPH^VNOTIS and DAPHNK 



The Secret. 




Rotary notion 

ANM> 

Ball Bearings 



MAKH THE NtW 



Wheeler & Wilson 
Sewing Machines 

Easy Running, Qiiiet, Rapid and Durable. 

Purchasers say : 

" It runs as light as a feather." 
" Great improvement over anything so far." 
*' It turns drudgery into a pastime." 
" The magic Silent Sewer." 
Speed and Easy Running^ make it a Time-Saver and Money- 
Maker, a Preserver of Health and a giver of comfort. 

Life is too short and health too precious to waste with a slow, 
hard-running, noisy machine when you can get the New Wheeler 
& Wilson. 

A perfect machine for Dressmakers. Compared with the 
W. & W., no other machine is cheap at any price. 

Send to, or call at, the nearest oftke, and request that a machine 
be exhibited at your residence, or address 

Wheeler & Wilson Mfg. Co. 

Manufacturers of Sewing Machines, all styles and sizes, 
for Cloth and Leather ; for Hand, Foot or Engine Power. 

Factory and Head Office, 

Bridgeport, Connecticut, U. S. A. 



MATTCLUTZ 






STEAM-SHRUNK 

Sanitary Wool Underwear 



For Men, "Women and Children* 

Manufactured from finest Australian ^ ^ ^ 

Natural Wool, free from dye. 

Son, Smootb, Finelp Knit, elastic 

By special process, rendered, with ordinary care in the laundry, practically 
unshrinkable. Suitable weights for Summer or "Winter wear. 

Manufactured by MATTES & LUTZ, Besigheim, Stuttgart. 



and Approved by 




Unqualifiedly 
Recommended 



The garments are made not only in ALL "WOOL, but also with an ad- 
mixture of cotton. They contribute to one^s 

Bealtbt Vitalitp, economp. Comfort* 

Is unquestionably THE BEST Sanatory Wool Under- 
wear ever produced* 

Illustrated Catalogues containing samples of the fabrics to be obtained from 
leading retailers or from the American agents of the manufacturers, 

SPtELMANN & CO. 



83-87 Grand Street, 



NEW YORK. 







Copyright 1895, bj The Procter & Gamble Co., Cin'ti. 



Every lot of Ivory Soap (every " boil " a Soap- 
maker would say) is carefully analyzed, and frequent 
comparisons are made with analyses of the best of the 
popular castile and toilet soaps. Ivory Soap contains 
less of impurities, less of free alkali and more real soap 
than any of them ; that is why it can be freely used 
without fear of injury to the rose leaf skin of the baby, 
to the sheerest of linens or to the daintiest of laces. 




HOME DRESSMAKING 
MADE EASY. 



BY / 

Emma M. Hooper, 



One of the Associate Editors of the ''Ladies' Home Journal, 
and a member of the staff of the "Dry 
Goods Economist/' 



WITH ILLUSTRATIONS BY 

ABBY E. UNDERWOOD, 



^ 



.>^^ 8F ea.^ 



' My 16iR9(5/ 



New York : 

THE ECONOMIST PRESS„ 

1896. 



r' 



CONTENTS 



CHAPTER 

I. — The Necessary Implements for Sewing 
II. — Cutting and Fitting Waists, . 
III. — The Binding of a Skirt, . 
IV.— The Use of Velvet, . 
V. — Cutting and Fitting Skirts, 
VI. — Boning a Waist with Featherbone, 
VII. — Accessories of a Waist, 
VIII.— The Proper Use of Haircloth, 
IX. — The Finishings of a Waist, 
X. — Fitting Unusual Figures, 
XI. — Mourning Styles and Materials, . 
XII. — Columbia Bicycle Costumes, . 
XIII. — Maternity Gowns, 
XIV. — Definitions Not Generally Known, 
XV. — Appropriate Colors and Materials, 
XVI.— Healthful and Stylish Dressing, 
XVII. — To Renovate Materials, . 



PAGE 

'5 

21 

23 

2q 
28 

3« 
37 
39 
4« 
44 
47 
5> 
54 
60 

63 
67 



COPYRIGHT BY EMMA M. HOOPER. 
1896. 



^'3/^ao 



INTRODUCTION. 



The trite saying that "a dressmaker is born, not made' 
cannot hold good in these days when so many conveniences are 
offered to the non-professional in the way of dress systems, pal- 
terns, etc. The great majority of women are of what is styled 
"middle-class circumstances" and they must become dress- 
makers for themselves or very often go without a new gown. 
A desire to be well dressed is inborn with every woman, and 
man as well, and why not follow this desire unless it cause 
one to neglect home duties or induces one to spend more than 
can be afforded upon one's wardrobe ? When neatly and be- 
comingly attired a woman is happier and more at ease in her 
manner when in the presence of others. Dress as well as your 
circumstances will permit and remember that it costs no more 
to dress becomingly than it does to don the wrong materials 
and colors. 

Especial attention is given in this little work to the dress- 
ing of very stout, extremely short and unduly slender figures. 
All figures may be improved if we only know how to do it, 
and I trust in a practical manner to make this possible for my 
readers. 

From my large correspondence, carried on in the Ladies' 
Home Jourr.al upon this subject, 1 know that it is of general 
interest to an immense number of women- who are obliged to 
do home dressmaking without any previous training. 

It has not been found advisable to illustrate current fashions, 
as they change too quickly to become standard, but the main 
principles of cutting, fitting and finishing, like the brook, go 
on forever, and these once learned make even the race with 
Dame Fashion an easy one. Flave patience, perseverance and 
care and you will accomplish wonders. Surely it is worth the 
trial if you only learn to gown yourself economically and be- 
comingly. "Make haste slowly" in dressmaking. 

Many terms used by dressmakers are of an unknown 
tongue to an amateur, so I have added a list of definitions that 
I hope will assist my readers over many a stumbling block and 
prove, like the rest of this work, "a friend in need." 





Jl .'^•. 



I 



^- 





'if^. 




^r-'^j 



Home Dressmaking. 



^^^ f^^ f^^ ^^^ 

CHAPTER I. 

THE NECESSARY IMPLEMENTS FOR SEWING. 

NO WORKMAN can turn out good work without plenty of 
tools, and those of the right sort as well. When com- 
mencing home dressmaking keep in view this fact. 
Surely making a gown in a neat and becoming manner that 
will fit and then bear inspection is an art. This may be a real 
or acquired taste, but in either case it means to have persever- 
ance, patience and a desire to excel for success to crown the 
effort. There are certain things that every workbasket must 
contain, and it should have a cover to keep out the dust. It 
is often a boon to home dressmakers to tell them what is the 
best brand or make of certain articles to use in their work. 
Unless placed so as to be able to try every new notion that 
comes out one cannot always know what is the best of its kind. 
For this reason I have given the names of several articles through 
this book, knowing them to be the foremost of their line and 
perfectly satisfactory in every respect. Many of them may be 
unflimiliar to my readers, but when tried they will soon prove 
indispensable to the workbasket and sewing-room. 

The necessaries may be reckoned as a tracing wheel for 
marking patterns, a blue and black pencil for a similar use, plenty 
of Sovran pins of different sizes, an emery bag for needles that 
rust in perspiring hands and a bit of wax to draw silk through 
sometimes; the Cameo hooks and eyes, black and white, and 
automatic measure; belting tape in white, black or colors, cotton, 
silk or mixed; a strong linen tape measure and both flat and 
round bodkins for running in drawing strings, etc., are also among 
the "must haves." It will be found that a silver thimble costs 
very little nowadays, and if kept clean never stains the finger. 
Have large cutting shears and smaller scissors for general use, and 
keep them sharp. For ripping, keep either small pointed scissors 
or a penknife. Have an assortment of Milward's needles and use 
them for every material. Never hesitate to buy the best sewing 
silk and twist, for they will prove smooth, even, strong and fit 

13 



for hand and machine sewing. That of M. Heminway & Sons 
is most favorably known in black and a large range of colors. 

Use Clark's O. N. T. spool cotton, in white, fast black and 
colors, on any machine or in hand work. While sewing it 
is advisable to keep the hands smooth and^ clean, as a gown 
soiled in the making is not worth finishing. For this use the 
purest of soaps — the Ivory — that is free from alkali. Patterns 
must be had, and the most Frenchy and original are those of 
the Morse-Broughton Company. A lapboard is a conven- 
ience, having one side hollowed out to fit into the form. In 
Chapter IX. there are full directions for sewing on the Omo 
dress shields, which should be considered among the indis- 
pensable articles of the workbasket. There are many shields for 
protecting the dress, but the only kind that is without rubber, 
odorless, impervious to perspiration, durable and very light in 
weight is the Omo. 

A reliable sewing machine is the home dressmaker's best 
friend, who must, however, keep it well oiled and cleaned or it 
may prove cranky and contrary for the lack of proper attention. 
The Wheeler & Wilson No. 9 f^imily sewing machine is light 
running, easy to handle, noiseless, speedy, and a saver of time, 
as well as a preserver of health for these very reasons. One 
cannot be too careful in selecting a machine, for upon its action 
depends the success of the work to be done, as well as the con- 
dition that the worker is left in. Follow the plain directions 
given and you cannot go astray with this machine, which is 
equally suitable for sewing every weight of material. Keep a 
stool for resting the feet when sewing, as such steady sitting 
in one position is tiresome. For the same reason — to be com- 
fortable — cut on a low table, so that you can sit down to it. A 
dress form, the skirt part, is convenient for "hanging a skirt." 

In the sewing-room there should be a closet for hanging 
partly made gowns and shelves or drawers for the store of 
necessary articles to be used in the art of dressmaking. Several 
boxes of good size are convenient for keeping old trimmings, 
goods to be sent to Lewando's dyehouse, ribbons, cotton, silk 
and woollen scraps and remnants of linings saved from other 
dressmaking sieges. The last finish to a dress is to fasten to the 
waist of it a sweet little sachet filled with J. & E. Atkinson's 
sachet powder, which is the most delicate way of perfuming a 
gown. Another plan is to keep similar sachets in the bureau 
drawers where dresses are laid, using violet, heliotrope, etc. 



CHAPTER n. 



CUTTING AND FITTING WAISTS. 

THE first necessary article is a pattern, but do not expect a 
paper pattern — even one from the publishers of L Art de 
la Mode — to fit you perfectly; it gives the general form of 
your waist, but must be fitted Xoyou, not to an average figure, in 
order to set like a glove, smooth, without wrinkles, and with a 
pliable comfort, not a stiffness that prevents bending. Buy a paper 

pattern of the Morse-Brough- 
ton Company, lay it on your 
lining, keeping the waistline 
exactly on the grain of the 
lining, which may be of silesia, 
sateen or percaline, in colors 
or in the ' ' Nubian " fast black, 
but 1 prefer percaline — the 
soft finished — as it fits so 
well to the figure and is not 
heavy. As this black is 
thoroughly fast there need be 
no fear of its soiling the skin 
or underwear. 

After pinning down the 
pattern use a tracing wheel, 
and allow, if it is not done on 
the pattern, half an inch for all 
seams, except the underarm 
and shoulders, where an inch 
is left. Do not cut out the 
darts until after trying on the 
lining, which should be cut two inches longer than the pattern, 
to allow for wrinkles that will probably be laid at the waist- 




line. If you do not like the idea of these wrinkles, then do not 
allow any extra length for them. The first illustration shows a 
lining for a full-busted person, basted and the wrinkles laid in 
the lining, half an inch above, the same distance below and at 
the waistline, in order to take the strain from the outside material 
and to keep it smooth. The front edge is rounded over the bust 
and a small, crosswise dart taken halfway between the neck 
and waist. Another dart is taken in diagonally at the armhole, 
and this one is often used with advantage, even though the 
person is not full busted. These two darts appear only in the 
lining, the outside being smoothed over them. 

Face the front edges of a waist that is rounded out with a 
piece of lining i}( inches wide cut the same shape as the edge. 
Do not cut off the front edges until after the fitting and pin them 
up on the figure by putting the selvedges together and the pins 
back. Commence at the waistline to pin, hook or button a dress 
and work up, smoothing all imperfections up toward the shoul- 
ders, as the French do. Sit down, stand up and bend over in a 
waist, as the fit may change with every position, and you want 
it to be right in each. In fitting shoulders do not take more off 
of the back than the front, unless the figure is very hollow in 
front. Baste all seams straight, and remember that as a basque is 
basted so it will be stitched, and upon this depends the beauty 
of the curving seams. Keep the waistline as long as it is natu- 
rally, not longer, and make the darts near together at waistline, to 
give them a slender look. 

After having fitted the lining and pinned it for necessary 
alterations, using the Sovran pins, remove the bastings, mark 
where the stitching will be, cut out the two bust darts on each 
side and baste the lining to the outside. Put your first basting- 
thread exactly through the centre of the waistline, keeping the 
grain of each material straight. Now baste in the tiny wrinkles 
at the waistline, not putting them in plaits, but in wrinkles 
between each basting stitch. Do not cut the neck low in front, 
or the collar will not fit. Do not cut the armholes out in a lavish 
manner until the last thing, as they are apt to stretch. If thin 
around the neck place a layer of wadding — the sheet variety — be- 
tween the lining and dress, tacking it here and there to the lining. 
If two layers of wadding are used the second one must be 
tapered down near the edges, and after stitching in the sleeves 
pull the wadding out of the seam, lest it be too clumsy. Small 
crescent-shaped pads are worn under the arms where every one 

i6 



is hollow. These are made of lining and wadding and reach a 
trifle more than halfway around the underpart of the arms, taper- 
ing to a point, and are tacked in lightly after the sleeves are 
sewed. It is well to sprinkle a little orris-root powder in these. 




This illustration shows half of a flat paper pattern. As 
usually seen, the front edge is straight, but the artist has rounded 
it out a trifle, and in fitting it can be rounded more. There is 
the front piece containing two darts, the side gore, side form, 
and, finally, half of the back piece. This is for an ordinary figure 
and the last illustration of the series is for an extra large person — 
say 34-inch waist and 46-inch bust. This has an extra side gore, 
and prevents cutting any one piece so wide as to increase the size 
of the wearer. Seams decrease the width and add to the height, 
hence the necessity of this extra piece. 

A new wrinkle in the preparafion of a basque lining is to 
sew the finest haircloth on each side from the shoulder seam to 
the underarm seam, rounding it to fit in the armsize on the outer 
edge and allowing it to almost reach the collar on the inner side, 
then narrowing it down so that it is about nothing when it reaches 
the under seam. This takes in the hollow around the front of 
the arm and part of the collarbone, where the dress is very apt 
to wrinkle or ''break," as it is styled by dressmakers, when the 
wearer moves. The haircloth is stiff enough to prevent this, and 
should be stitched on the lining between it and the outside fabric. 

17 



So exact has fitting become that basques of riding habits are in- 
terlined with this light, pliable haircloth in every part, to give the 
wearer the unwrinkled, erect appearance now desired. The 
perfect boning done with the featherbone and by the correct 
method will also make a better fit. 




After the waist is fitted, with the outside basted on, the 
seams can be stitched barely outside of the basting, using 
M. Heminway & Sons' sewing silk for both strength and neat- 
ness, as the inside of the waist must look well and the seams 
must hold. Stitch on the machine with a tight tension and small 
stitch for waists and a long stitch for skirts. Overcast seams be- 
fore pressing them (methods for this work are explained in the 
ninth chapter). Use a small, slender iron for pressing seams. 
Turn the side form, shoulder seams to the front, and open the 
darts, the back, side and underarm seams. Do not press plush, 
velvet or cloth seams, but stand the iron on a table and run the 
seams quickly over the rounded end. With a tailor-made suit 
the pressing is half the success of the gown; it is done with 
very heavy irons and by a man who nearly shapes the dress with 
his manipulations. It is said that tailors press or sponge cloths 
by laying a wet (not dripping) cloth on the right side of the 
goods and pressing it with a heavy hot iron until perfectly dry. 

Do not cut into cloth without a thought of economy; 

18 



extravagant cutters are not the best dressmakers. The skirt 
portion of ripple basque pieces is interlined with very light hair- 
cloth and lined with silk as it shows here and there. High 
collars are cut with and without a seam at the back, the former fit- 
ting in closer to the neck. They are from 2 to 2>^ inches high and 
interlined with light collar canvas. The outer material is turned 
over on the canvas and sewed down; the silk bias lining then 
basted on and hemmed down all around, sewing two Cameo 
hooks and eyes on the fronts so that the edges just meet. The 
dress neck is finished with a narrow bias binding of silk and the 
collar basted on the outside, holding the waist toward you. 
By the bye, in basting shoulder seams hold the back toward you, 
as that should be eased in a trifle. Press a collar on the wrong 
side. Fancy collars are described in the "Accessories of a Waist." 

Sleeves are so various in style that it is useless to attempt 
describing the many fashions seen, but, if an amateur, get a flat 
paper pattern of the newest from LArt ife la Mode, and, if a pro- 
fessional dressmaker, invest at once in their made-up patterns, 
where you can see at a glance just how the sleeve, skirt, waist, 
etc., will look when made up. These fashions are all French, 
original, trustworthy and new. As a general rule to follow, re- 
member to have a cross thread of your goods halfway between 
the elbow and shoulder, making the lower part bias and the 
inner seam on a straight line with the thumb when the arm is 
dropped by the side. Very thin arms were improved by a layer 
of wadding between the elbow and shoulders when close-fitting 
sleeves were worn. Cuffs and epaulette trimming shorten arms. 
A narrow tape may be stitched around the armholes with the 
sleeve, which prevents any splitting across the front of the 
basque. The armholes are closely but loosely overcast; the 
sleeve seams are clipped several times to prevent any drawing, 
overcast separately and pressed open if desired. Tapes with 
which to hang the basque are sewed on in a loop at the joining 
of the side-form seams and armsizes. 

The wrist of the sleeve should be faced with a bias piece of 
silk the color of the dress or its trimmings and the inner seam 
left open for an inch to allow the band to pass through. The 
sleeves must be pinned on the wearer, as some need the under- 
arm seam nearer the front than others. Too tight a sleeve over 
the forearm makes the hands red. Never show the wristbone 
unless you have pretty hands, as shortened sleeves make them 
very conspicuous. Just at present the fashion is for full soft 

19 



sleeves, but they need a trifle bolstering up for all that. This is 
given by two box-plaited ruffles of fine haircloth, hemmed, 
lapped over each other and sewed to the upper part of the lining 
sleeve just below the elbow, this being the only interlining for a 
large puff. A small puff or drapery at the top of the sleeve needs 
only one ruffle. These ruffles do not extend under the arm. 
At the present time sleeves are cut very long, some forming a 
point over the back of the hand in Renaissance style. 

The fitting and making of cotton goods that will some day 
seek the seclusion of a washtub differ in many respects from the 
method of fashioning the silk and woollen materials described. 
I do not advise making up plaid ginghams on the bias, as they 
are apt to be pulled askew in the ironing. 

Waists and sleeves of such fabrics are made with the bag or 
French seams, which have the raw edges put together on the 
right side and a very narrow seam taken ; then they are turned to 
the wrong or inner side and another tiny seam taken. Wash 
waists are best lined with a piece of the same goods or with 
white lawn. If one perspires freely there should be a deep yoke 
at least of the goods on the wrong side; with others a reinforce- 
ment around the armholes and down the side seams is sufficient. 
The round waists worn under the skirt should extend fully three 
inches below the waistline. They are usually finished around 
the waist with a narrow casing or strip of the goods through 
which runs white elastic a fourth of an inch wide and an inch 
smaller than the belt measure. This keeps the waist down, and 
the wearer can move the fullness to the centre, back and front, 
when the waist is on. Pearl buttons and hand-worked button- 
holes fasten the fronts. 

Embroidery is the usual trimming in edging or insertings. 
In buying such trimmings remember that the patterns having 
small holes wear the best. Have cotton gowns washed out 
quickly and dried in the shade, for while the reliable brands 
of goods are fast in color, it is simply tempting them to hde if 
they are hung in a July sun. As a precaution, use good — not 
strong — soap and the shady side of the yard. Stitch the seams 
of wash goods with Clark's O. N. T. spool thread, which is sat- 
isfactory for hand or machine sewing. In place of making up 
cotton shirt waists buy the ready-made Griffon brand. 



20 



CHAPTER m. 

THE BINDING OF A SKIRT. 

ONE of the most important features of a well-fmished skirt is 
the binding of the lower edge. It must be both useful 
and ornamental, thoroughly protect the edge of the dress 
goods and afford a neat finish at the same time. It has been 
found that a good quality of bias velveteen is the best binding for 
many reasons. Velveteen is sufficiently soft not to rub the shoes 
shabby, yet closely woven so as to resist wear. The S. H. & M. 
bias velveteen bindings are cut a perfectly true bias, and will, 
therefore, fit smoothly around the edge of any skirt, no matter 
how it may be shaped. This brand of binding always has S. H. 
& M. on the label, and from now on the binding will also be 
stamped with the three magic letters on the back of every yard or 
two of the material. The Duxbak rainproof binding is recom- 
mended for storm dresses, as it has a finish that sheds water. 

The easiest method of binding with one of these pieces of 
bias velveteen is as follows: Lay the right side of the binding 
next to the right side of the goods and baste smoothly on, allow- 
ing a full inch of the dress goods and lining to turn up and a 
fourth of -an inch of the binding. Stitch on the machine and turn 
the binding and dress goods over on the wrong side. Baste the 
velveteen down near the edge, allowing the merest trifie of the 
folded edge to project evenly below the skirt itself. Then turn 
and baste the raw edge of the binding down and hem it so that 
none of the stitches will show on the right side. Pull out the 
bastings, lay a piece of crinoline over the velveteen and press it 
with a warm iron. 

Thus the binding will really protect the dress by taking the 
wear and tear first. The velveteen should exactly match the 
color of the dress goods, which is easily done, as it can be found 
in several hundred shades, and affords a dainty finish to the 

21 



garment. The basting and pressing are very important parts of 
this work. In basting hold the binding toward you. Do not cut 
the edge of a skirt of the proper length, but allow it to be fully 
an inch too long, and turn this portion up over on wrong side 
with the velveteen binding. As these bindings are made of 
double-warp yarns they are very durable, and from the fact of 
the close pile surf^ice all dust and mud are easily brushed off. 

The tailor's favorite manner of binding is to fold the bias 
velveteen binding in the middle and lay it against the right side 
of the skirt, with the raw edges even and the lining — not the 
interlining — left separate. After basting together stitch and turn 
the edges up, leaving the folded edge of velveteen to project 
nearly a fourth of an inch below the skirt. The lining is then 
basted down over the raw edges, hemmed, and a warm iron 
applied over a piece of thin crinoline, which saves the goods from 
any accidental scorching. While this manner of binding has 
many advocates, I must confess a preference for the first style 
described, in which the velveteen also answers for a narrow 
facing. It can readily be seen that in order to have a binding 
perfectly smooth it must be cut a true bias, so as to adapt itself 
to a gored, circular, fluted or plain skirt. 

The bias velveteen with a cord edge of this brand that is just 
making its bow to the vast army of home dressmakers has the 
upper edge turned and stitched down ready to blindstitch on, and 
thus saves time for the busy woman and leaves a pretty, even, 
round cord on the skirt edge that will not rub out, owing to its 
tilling. This cord takes the place of the piping so dearly loved 
by tailors as a fmish to their costumes for ladies. Silk, alpaca, 
moreen, etc., petticoats should also have a velveteen binding, to 
save the edge from cutting out. Although seemingly a small item 
of the skirt, the binding is one of the parts that cannot be omitted. 
It adds to the length of service and gives a better appearance to 
the skirt, in view of which, my dear sisters of the needle, is it not 
worth putting on the binding correctly and using the right kind 
of one.^ The cord edge is called the Ever-Ready. 

The Velveteen Featherbone Binding has a row of feather- 
boning stitched on one edge, which is placed against the lower 
edge of the right side of the skirt and a row of stitching run 
half-way between the edge and the stitches already there. This 
holds the bone firmly to the skirt, and even should the bias 
velveteen wear oul the featherboning will remain in place. Then 
turn up the skirt and blindstitch down the upper edge of the 



22 



binding, which is ah'eadv turned and hemmed to save time and 
basting. Some dressmakers featherstitch the raw edge of a 
binding down, but it takes longer and requires much nicer work 
than to hem it down with blind stitches that must not go through 
to the right side. 

The Redfern binding, which is one of the same brand, is a 
corded velvet that has a very handsome appearance when applied 
in either of the styles described above. Velveteen bindings may 
be had in widths from \% Xo 2 inches, and in lengths suitable for 
all skirts. 



CHAPTER IV, 

THE USE OF VELVET, 

IN making up velvet waists, capes, skirts, etc., some new rules 
have to be followed that will not apply to other fabrics. It is 

a material that is becoming to all complexions and ages and 
exercises a softening effect upon all defects. As a trimming it 
enriches silk, woollen and cotton goods with which it may be 
combined, and as a costume it surpasses in beauty, style and 
richness any other fabric. 

Velvet is never out of fashion, therefore it can never prove 
an unwise purchase. An all-silk velvet, like black pearls, is 
beyond the purse of anv but a few of fortune's favorites, but 
in the ''Boulevard" velvet my interested readers will find a 
fabric like silk velvet in appearance and feel, surpassing it in 
wear and costing about one-fourth its price. The close, thick 
pile enables one to use it cut on the straight or bias, and as it is 
made in black and all staple and fashionable shades there is no 
lack of variety in its colorings for any purpose. 

Velvet garments must have each piece cut the same way of 
the goods or the different parts will take on many shadings; the 
pile must run downward. Keep your wits about you when cut- 

^3 



ting out a velvet garment, and in basting it use a fine needle and 
silk, as coarse cotton leaves an impression on the soft velvet pile 
or surface. When ripping out basting threads cut them every 
inch, so as to have only a short piece to pull through. 

Use the small, smooth black pins for fitting, and do not 
allow yourself the habit that even professional dressmakers 
sometimes have of putting in pins and taking them out, ap- 
parently at haphazard. Let each pin go into the waist, etc., 
with a purpose, and do not use any more than are absolutely 
necessary in velvet. Carefully stitch the seams, for one altered 
means a line in any velvet, even the thick-piled "Boulevard," 
which, by the way, is stamped on the back of every yard, so you 
can see for yourself if you receive what is asked for. 

If any part of the velvet becomes creased, then steam it 
according to the directions given in the chapter on "Renovat- 
ing Materials." To press the seams of a velvet garment stand a 
warm — not hot — iron on the back end and run the open or closed 
seams over the small, round end, after the slightest dampening 
possible of each seam. This prevents flattening the pile, as iron- 
ing would do. 

When a dress is trimmed with velvet always have it near the 
face. A velvet collarette, sleeves or plastron is very becoming for 
a too-slender form. Velvet skirts can be worn with chiffon, sik 
or velvet waists. A black velvet cape is a joy forever with any 
gown suitable for street or evening wear. Girls from three years 
of age wear velvet trimmings and small boys have velvet jacket 
suits, so it is really for all ages. 

In hemming a bias piece of velvet turn the hem down but 
once and blindstitch it along with stitches that catch on the under 
side only, never showing on the right side, from a half to an inch 
apart. Never work a buttonhole in velvet. When dustv, wipe 
velvet with an old silk handkerchief or brush with a soft whisk, 
called a velvet broom. The material wears well, but give it care 
and it will do better than well. 

At present velvet is in the height of style for blouses or fancy 
waists for cool Spring days, and for trimmings and capes. Even 
during midsummer velvet crush collars, belts and knots will be 
worn, and the indications for Fall point to this fabric being more 
in vogue than ever. During the Fall and Winter entire costumes, 
capes, coats, single skirts and odd waists, trimmings and different 
accessories for silk and woollen gowns of the ever-becoming 
velvet will flourish like a green bay tree. 

24 



CHAPTER V. 

CUTTING AND FITTING SKIRTS. 

IN CHAPTERS III. and VIII. the correct manner of binding and 
interlining skirts is given fully. More attention should be 

paid to linings in general, and especially linings for skirts. 
Silk is beyond the reach of three-fourths of the feminine popula- 
tion, but this need not discourage one, for the '"Nubian" fast- 
black percaline will supply its place at a small cost. Make a note 
of the name being stamped on the selvedge in red letters, for 
there are many so-called "fast blacks," but only one "Nubian." 
The percaline has a high finish, like silk, a stiffness reminding 
one of taffeta, and moire markings that make it a handsome 
lining as well as a durable and reliable one that will never stain 
or crock the underwear. This dye is applied to percalines, 
sateens, silesias, cambrics, etc. 

As four-fifths of the dress skirts made should be lined with 
black it is well to know of the best. If a still cheaper lining is 
wished try the paper cambric, but always take the stiffened while 
the present style of skirts last. Nothing soft or clinging is 
wanted for a really stylish skirt. Silesia is sometimes used for 
skirts, but moired percaline is the first choice, and it comes in 
several grades. Besides selecting a handsome and durable lining 
get a good skirt pattern, such as is issued by the Morse-Broughton 
Company, which will be carefully shaped and notched so that 
the veriest amateur may put it together. The average skirt this 
season is S/^ yards wide and 41 inches long, requiring six yards 
of percaline to line it. 

Take four measures for a skirt, centre front, back and each 
side, as the hips are not always the same height. Cut the lining 
out first, baste the interlining of haircloth to it, as described in a 
following chapter, and then baste in the dress goods. Use Mil- 
ward's needles and m^^dium thread — O. N. T. No. 40 — for basting. 
Pin the seams together before basting them and commence at the 
top to baste, holding the bias or gored edge toward you. The 
newest skirts are fitted without darts in front and a very stout figure 



will require a few gathers there, but the narrow top fits itself easilv 
to an ordinary figure. The lining and dress goods must be 
exactly alike, and both cut with a cross thread perfectly straight. 
When this is done there is no trouble in making up the lining 
and outside separate, which many report "will not hang to- 
gether." When haircloth is put on properly, viz., laid and lapped 
over the lining seams, the lining and material cannot be sewed 
together in the seams lower than the top of the interlining. 
Then each is stitched, the haircloth applied and the two finished 
seams caught together. 

In this case the seams would be cut evenly and overcast or 
bound with a bias strip of the lining, after pressing them open, 
and then binding all raw edges together. The handsomest skirts 
have lining and outside made separate, seams pressed and then 
overcast, interlining sewed to the lining and the two caught 
together down each seam; or the outside is seamed up, the 
interlining basted to it and each piece of lining basted down the 
seams, one edge even, the other and the upper one turned down 
and blindstitched neatly. Then the lower edge of the dress 
goods is turned under and the lining blindstitched to it. The 
bias velveteen binding is then sewed on by hand, not turning 
any of the skirt up with it, but sewing the right side of the 
binding to the lining, turning it up, leaving a roll like a piping to 
protect the dress edge, and hemming down the upper edge, 
after basting it. 

The easiest way of lining a skirt is to baste the interlining to 
the lining, letting each edge come out evenly, then baste to the 
outside material; stitch, press the seams, bind with a strip of 
lining, after cutting the haircloth nearly out of the seams, and 
overcast the raw lower edge before putting on the bias velveteen 
binding. Although easy for an amateur, the skirt will not set as 
well as if the haircloth — I mean pure haircloth and not the cotton 
haircloth — was applied as described in Chapter VIII. If your 
skirt pattern directs that an elastic, a quarter of an inch wide, be 
run across the rounded or godet plaits, to hold them in position, 
put it on; otherwise omit it, as all skirts do not need it. Be very 
careful about shaping your skirt around the lower edge. 

If a belt is used have the outside of the dress material cut 
bias and lined with the skirt lining cut straight. Put a stitch of 
white thread at the centre front of the belt. Hold the skirt 
toward you when basting it to the lining, then cover the raw 
edge with the material, stitched down. Do not try to get a 

26 



"skin-tight" fit over the hips and "ease" the front in the belt 
as you baste it. Lay the centre back in single or double box 
plaits or simply gather it, as your LArt de la Mode pattern may 
direct. Allow a lap of half an inch on each side of the belt for 
the Cameo hook and eye and sew them near the lower edge 
of the belt. A favorite way of finishing the top of a skirt for a 
stout or short-waisted person is to simply pipe or cord the edge 
with a piece of the goods, which allows it to fall lower on the 
waistline. The French do not like belts, and their modistes 
know more little quirks of this kind than we do. 

A safety hook and eye can be sewed halfway down the 
opening or placket hole, which should be fully lo inches long, 
faced narrowly, turned in an inch on each side and gathered or 
plaited in with the lining and outside, which prevents any 
gaping. Sew two sets of Clinton skirt supporters to your skirt, 
the ones with the hook to the skirt and those with an eye to the 
waist, and remove all danger of the two garments separating. 
Sew the pocket in the right back seam, the top of the opening 
being four or live inches below the top of the skirt. Always 
fLice the inside of the pocket with the dress goods and leave the 
opening large enough to get the hand in without straining the 
stitches. Allow a quarter of an inch at the top of a skirt for the 
belt or piping and half an inch at the lower edge for turning up. 
A street skirt should hang evenly all around and not touch the 
ground. Put a loop of tape on each side, near the back, to hang 
the skirt up by. 

A well-fitting petticoat adds much to the success of a skirt, 
and if a silk one cannot be afforded excellent ones can be made 
of the finer grades of "Nubian" percaline, having the soft rustle 
and lightness of silk. Make it on a yoke; have it three yards 
wide, faced, and then bind with the bias velveteen featherbone 
binding, which will keep the petticoat comfortably extended; 
add three bias gathered ruffles, overlapping each other, each five 
inches wide and the top one with an erect heading; finish the 
top with a yoke four inches deep; no opening, but a drawstring 
in the back from the side seams where the yoke ends, the back 
being faced. A skirt of wash goods is cut nowadays with the 
same gored seams on the front and sides as any other, with a few 
gathers at the top and the mass of fullness gathered to the centre 
back. The seams should be basted, stitched, pressed and then 
each raw edge turned in and overcast. A five to seven inch hem 
finishes the edge. Where a lining is necessary, as with an or- 

27 



gandie, have it of silk or lawn, made up separate and finished 
with a ruffle or only a hem ; this should be certainly four yards 
wide, with an organdie five yards. Have plenty of it and do it 
correctly. A tiny cushion, of curled hair and the lining, is gener- 
ally put in the centre back of a skirt, where nearly every one is 
hollow, but it must not show, only round out the figure indis- 
tinctly. A skirt of many gores adds to the apparent height. 




CHAPTER VL 

BONING A WAIST WITH FEATHERBONE. 

NEXT in importance to the fitting of a waist comes the bon- 
ing, and upon the atter much of the fitting depends. If 
well boned and the right spring given to each bone the 
waist will not have a wrinkle in it, and the easiest process of 
boning is that done with Featherbone, which is unlike all other bon- 
ing in process and effect. It is only recently that dressmakers have 
learned how to use this bone so as to obtain the best results, and 
the manufacturers have increased the styles of and uses for 
Featherbone until it seems impossible to make up a dress prop- 
erly without using it. 

In the first place have the attachment that will fit any 
sewing machine for holding the Featherbone in position. Com- 
mence to bone at the seam left of front and have the under left 
of seam on top. The first thing to do is to put ine wrong side 
of the Featherbone up under the machine so that the needle will 
be exactly in the middle of it. Then place the attachment on, 
with groove over the bone, and fasten it firmly with the 
thumbscrew. Commence at the top of the seam and stitch 
downward, following closely to line of seam-stitching but not 
over it, with left side of seam up. For the first few inches 
crowd the goods under the needle a little, then stitch smoothly 
along to within an inch of the waistline. Here you can obtain a 
spring by raising the short waist and bone toward the back 

28 



of the machine foot and against it. You can regulate the 
spring by the manner in which this is raised. As soon as the 
Featherbone is secured in the attachment cut it off the right 
length and give no further heed to it, for the attachment keeps 
it straight. 

If boning a long basque continue from two inches below 
the waistline to the end by crowding or easing the seam toward 
the needle, making the bone tighter than the seam and thereby^ 
securing a handsome curve over the hip and preventing all 
rolling up. Finish off the end of the bone by first tying the 
threads, then rip the covering for half an inch, then cut off the 
stay, thinning and rounding the corners, and turn over the end 
of the cover, not drawing it too tightly; secure with a few 
stitches and, finally, bend the top of the bone back a trifle and 
you have a firmly boned seam, shaped to a perfect contour from 
being caught all along the seam in place of only here and there, 
as all other boning is done. Use silk on the machine. Of 
course, the seams are all pressed and overcast before boning. 
Bone the seams to top of corset, except the second seam from 
centre back, which is boned to the armsize to prevent any break 
in the bodice. 

These waist bones are in lengths of 12 yards and are of 
every color, covered with satin, silk, moire, Prussian and twill. 
The hook and eye bone is used only for the front edges, and 
prevents gaping, breaking or wrinkling; is sewed firmly to the 
edge and is stiffer than the waist bone. For an evening waist 
the eyelet bone — narrower than these mentioned — should be 
used and the eyelets for the lacing cord worked on the inner 
side. It has been the custom to put canvas around the edge of 
the basque to hold it in shape, but among the various styles of 
Featherbone is one known as soft bone, which is stitched to the 
bottom of the waist, then turned up and caught firmly to the 
ends of the stay bones. If a waist opens on the shoulder seam 
and along one side put a soft bone down the shoulders to keep 
the hooked edge firm and even. 

The Featherbone tape comes in four widths, one-half to two 
inches, and is suitable for the lower edge of basques also, espe- 
cially if of heavy goods. The tapes are also used for godet rings, 
that are sewed inside of the three godet flutes at the back of a 
silk, alpaca, sateen, etc., petticoat, three smaller ones about five 
inches below the waistline and three larger 10 inches above the 
lower edge, inside of each Hute. Such a petticoat then has a 

29 



ruffle around the lower edge with skirt bone run in the hem 
and at the shirred top, in place of a cording, and the ruffle is 
tacked down in even flutes all around, making a perfect support 
for the dress skirt to hang over. Another plan is to omit the 
skirt bone in the ruffle and place it at the lower edge of the skirt. 
This will set better if sewed through firmly to the wrong side of 
the petticoat, then turned up, leaving the bone like a cord. If a 
very flaring effect is wished on a petticoat the Duplex skirt bone 
or Featherbone tapes may be used. 

Sleeves are enlarged with a layer of tarlatan having three 
rounded rows of the Duplex skirt bone and one upright support 
of the same kind, which holds out any sleeve except the puffed. 
The latter needs a straight piece of tarlatan having several upright 
rows of Duplex skirt bone with the upper and lower edges 
gathered together, making a soft puff. The former come ready- 
made. This same bone is used in high flaring collars on jackets 
and capes and will always retain its shape. The very lightest 
weight of interlining is recommended for collars, revers and cuffs 
when using Featherbone. The five-cord tape is used for ordinary 
collars, cuffs and revers, and skirt bone is also used on revers, 
the beauty of which rests in their never having turnover points, 
which the Featherbone effectually prevents. Lovely piping or 
cording for dress trimming is made with a small Featherbone 
cord, which has a perfect effect. It appears that one might go 
on forever finding new uses for the varieties of Featherbone, for 
the story is not yet half told. 

And now the question arises, "What is Featherbone.?" It is 
made of the pointer quill of the turkey, which is split, finely 
shredded and bound into cords, forming an unbreakable bone; 
also one that is elastic, light and never injured by perspiration. 
It adapts itself to any curve, hence its success as a waist bone. 
It possesses a certain stiffness, yet is pliable. It is made up wide 
and narrow, heavy and medium weight and extra thin, and is 
not affected by the temperature or wear. It will not break in 
actual use, and is as suitable for a stout as for a thin figure — 
even more so, as it shapes even a poor figure when the waist is 
properly boned. Even milliners have seen the practical use of 
Featherbone and are using the soft bone in bows tc support the 
loops. It is one of the really good aids to home dressmaking 
that have been invented. It is simple to use, quickly manipu- 
lated, inexpensive in cost, and adds much to the beauty of a 
well-fitting waist, which also means a well-boned waist. 

3Q 



CHAPTER VIL 

ACCESSORIES OF A WAIST, 

EVEN after a waist is cut, fitted and stitched there are many 
extra pieces or accessories that rightfully belong to it, and 
these make the waist plain or elaborate, according to their 
form and material. Among these extras are cuffs, collarettes, 
vests, plastrons, belts, revers, fancy collars and basque pieces. 
Velvet, silk, satin, lace, chiffon or contrasting woollen goods are 
the usual materials selected for such articles. They must either 
perfectly match the foundation color of the dress itself or offer a 
harmonizing contrast to it. 

Cuffs are just reappearing, after being somewhat neglected 
for several seasons, but they are different to the old turnover cuff. 
Now they are nearly circular, being eight inches wide around the 
hand, two and a half inches deep and fourteen inches wide at the 
top. They are interlined with fine haircloth, turning each edge 
over, and lined with the dress goods or silk, as they flare suffi- 
ciently to show the lining. The cuff may be left partly open in a 
tiny V at the inside sleeve seam or made large enough to slip over 
the hand with this seam — it's only one — closed, though there may 
be a V in the sleeve beneath. The top and bottom edges of the 
outside material are turned over on the inner side and caught 
down; then the lining, which is cut in the same shape, is 
hemmed on, an eighth of an inch below each edge. The cuff is 
then slipstitched to the edge of the sleeve, which is already faced. 

In pressing fiicings rip out the basting threads first and use a 
piece of thin crinoline between the facing and iron, in order to 
prevent any discoloration. Cuffs shorten the apparent length of 
the arms. Other trimmings on the sleeve edge are a twist of 
ribbon, velvet, etc., with a bow at the back, a band of lace 
insertion or passementerie. Another style shows trimmings of 
any of these materials put on in three diagonal rows, each ending 

31 



with a knot of the same toward the back and nearly to the elbov/, 
the other end commencing at the inner seam. A large scroll 
figure of braiding is used on the top of the wrist. A frill of lace, 
using it always three times as full as the space to which it is 
gathered, finishes many home and dressy costumes and imparts 
a delicate appearance to the hands, it is not out of place, how- 
ever, to leave the lower edge of any sleeve untrimmed. 

Revers are a boon to hollow-chested persons, as they fill up 
the space, and they are also becoming to full-busted women, as 
they detract from any oversize if pointed long and slender below 
the fullest part. They are of the dress goods or a contrasting 
material, and are finished with an edge of beading, braided, 
stitched in two rows on the machine, a delicate vine of lace 
appliqued on, etc. Revers are now made in so many shapes — 
square, pointed, continue over the shoulders to form epaulettes, 
etc. — that it is impossible to describe them all, but their making 
follows the same general lines. 

They are interlined with crinoline or haircloth, depending 
upon the outside material needing a firm or very thin stiffening. 
The outside material must be turned over the stiffening, caught 
down with a few long stitches and the silk or dress goods lining 
hemmed over this, an eighth of an inch from the edge. Cut all 
such accessories out of paper first and pin them on before a look- 
ing glass until the proper position is found. Some revers are cut 
in one piece v/ith the jacket fronts. When very wide they are 
styled Directoire. If they taper to a point at the waistline the 
wearer will appear longer waisted. If they start from the 
shoulder seam and taper to the waistline they are properly 
termed bretelles. 

Shawl revers have a rolled collar below a standing one 
that ends in short, wide revers over the bust without the notch 
or "step" that distinguishes a man's coat collar. This latter style 
has the revers part joined to the turnover collar, which is sewed 
to the dress neck with the seam toward the inside, leaving the 
dress goods free to be hemmed down over the seam. The revers 
are seamed in at the end of the collar and sewed in the front 
edge of the jacket, with the same seaming or made entirely 
separate, finished up and then slightly lapped over the collar 
ends. Revers are always in fashion, but their shape may differ 
very much. At present the short, wide ones are stylish, with the 
outer point very loosely caught down or left free. 

Basques or pieces to represent the skirt of a bodice are added 

32 



to a round waist, (itted to the bottom of the waistline, and to 
slightly pointed ones as well. They are usually in flutes or 
ripples, are cut nearly circular and are from four to six inches 
deep when finished. The upper part is sewed on plainly, being 
seamed to the waist edge, with the lining hemmed down over it, 
leaving the lower edge to form flutes or godets on the sides and 
across the back. The front is plain or the basque piece may com- 
mence only at the hips or second dart. The piece must be 
interlined with haircloth and prettily lined, as the under part 
shows. Sometimes the flutes have a tiny ribbon run around half 
way up, to keep them tacked in position. 

The lower edge is stitched or left plain or cut in square tabs, 
and each one braided. The upper edge is often concealed by a 
band of passementerie, a twist of ribbon ending in a bow on one 
side, a bias band of the dress goods braided or a fold of velvet or 
silk, which is sewn down all around and a three-inch point left 
beyond the centre front, which is lapped over and hooked under 
a couple of pointed ends. Even on a round waist point this belt 
slightly at the centre, back and front, to give a long-waisted 
effect. 

There is a crush belt that gives a similar appearance, being 
fitted to the lower part of the waistline, like a short yoke, and 
boned three times in front, twice at the back and once on each 
side. The lining is flat and the bias outside material is laid in soft 
folds over it, being turned over an inch on the stiff interlining 
upon which the lining is hemmed down. A bow at the back 
finishes the article, which is two inches wide there and three 
inches in front. The Empire belt is fitted around and above the 
waist, is three to seven inches wide, and in soft folds or flat. If 
the latter, it is covered with embroidery or beading; in either case 
it is lined, interlined and boned, and is only suitable for a slender 
figure. 

A two-inch ribbon or belting belt is becoming to nearly any 
figure. Even No. 9 — 1>'2 inches — is fashionable this season. A 
slender, narrow buckle makes the waist smaller. There are many 
contrivances for holding skirts and waists together under a belt. 
Nothing can look more untidy than a gap between a belt and skirt. 
Keep your belt well pushed down in front, as it is one of the first 
signs of middle age for a belt to ride up at that part. The lighter 
colored the belt the larger the waist. 

The regular crush belts are rather passe, but they were 
always bias, fastened with the two frilled ends at the back, 

33 



were hemmed at each side and cut twice as wide as they would 
be when finished. The narrow, folded belt now worn is of bias 
velvet or silk or of five-inch ribbon, and is folded once or twice 
around the waist; it hooks at the back under a short, flat bow of 
two ends and loops or four pointed ends and a knot. 

Fancy collars rank among the very important parts of a waist 
nowadays. The manner of making the ordinary collar is ex- 
plained in the chapter on cutting and fitting a waist. The usual 
crush collar, also called a stock, is made of a perfectly bias piece 
of silk or velvet nine inches wide and an inch longer than the 
collar is to be. This is laid over a piece of cross-barred crinoline, 
shaped to fit the neck and opening in the back. The illustrations 
show such an interlining shaped to open at the back and one to 
open in front, as the false collar sewed to the dress neck would do 
that affords a support to the fancy collar. The designs differ in 
shape, and the only way to get a perfect tit is to experiment with 
paper until it is found. 




Vc^ 



/y-c^. 




The bias material is turned over on the wrong side of the 
interlining and hemmed down with a raw edge. Then arrange 
the rest of the goods in easy folds, catching them here and there. 
Now cover the wrong side with a piece of bias silk and hem it 
down; fasten with two hooks and eyes at the ends. If a frill is 
wanted at the back leave ends i>^ inches longer, double them 
over and shirr; then fasten, leaving two frills standing out. 
Nowadays a bow of two wide loops and two short ends is 
preferred to the frills, but the latter are more becoming to a 
full fLice. 

Ribbon collars are of five-inch ribbon, folded once around 
the neck and tied in the short, wide bow at the back. This 
often fits without any shaping, but some necks require a little 
dart or V taken in at the centre front. A pretty finish to one of 
these collars is a ruffle of 2}4-mch lace, using a yard, turned over 
the top, to fall as it will. Then there are points and tabs trimmed 
with lace or beading and turned over, and the nearly circular collar 

34 



piece similar to the circular cuff; but these are merely passing 
fancies and would not be useful if illustrated in a standard work. 

The large collarettes and epaulettes or sleeve caps worn are 
interlined with crinoline or haircloth, according to the material, 
and lined with silk or the dress goods. These, too, change so 
often that it is impossible to describe them. Study your figure 
before adopting such an accessory. It was designed to fill in 
hollow shoulders and to widen sloping figures; if not of such a 
figure you do not need this style, which conceals defects, but does 
not heighten natural charms. All accessories tend to make a 
gown more dressy and more becoming if rightly selected, but try 
the effect in paper on the wearer before cutting into the goods. 

Flat vests may be pointed, rounded just to reach the waist- 
line or cut in a regular waistcoat shape below the waistline, 
separating at the waist. They are fitted with one or two darts, 
as the fullness of the figure may require, when worn under a 
jacket basque, as then they are sewed in at the side seams with 
the outside material or form a separate garment, with a back of 
lining fastening up the centre and shaped like two back and side 
gore pieces. 

Other vests are merely applied to the centre of the waist in a 
certain shape, long and narrow, etc. Others are sewed down on 
one side, the right, and lapped over on the left, fastening with 
hooks and worked eyelets over the dress or under a bretelle or 
revers trimming, with the regular waist hooking up in the centre 
beneath the vest. A short square or V-shaped waist gives the 
wearer a fuller figure, while one slender and pointed at the 
waistline adds to the length of the waist. 

A vest is usually in contrast, as it is intended for a trimming 
as well as often an addition to eke out a made-over gown. 
Velvet, plain and figured silk, cloth, etc., are the materials usually 
selected. Plain cloth or serge covered with a braiding of black 
or gilt soutache braid makes a handsome vest. The pieces are 
cut out and then stamped with an allover scroll pattern, upon 
which the braid is sewn with silk, then pressed on the wrong 
side, and the vest is finally made up. Double-breasted vests 
fastening with two rows of buttons and having a small turnover 
collar like that on a man's vest are worn with a linen chemisette 
to fill up the V space above. A vest must serve a purpose, either 
as a trimming or part of the gown, or its force is lost. 

A plastron might be defined as a loose vest, as it answers the 
same purpose, and is made of the same materials as well as of 

35 



thin fabrics like chiffon and nets that will look well in a loose, 
fluffy mass. This accessory is not only becoming to a tall and 
slender figure, but on a stout form conceals the waistline if 
dropped low in front, and that point is the telltale on a full 
figure. 

Plastrons to wear with a jacket are made entirely separate 
from a waist, with a crush collar and a lining back, as described 
for vests. They are also attached to the dress on one side and 
hooked over on the other, gathering the fullness at the top in a 
wide or narrow space, as is the most becoming. The lower edge 
is gathered, turned up underneath and allowed to drop slightly or 
much, as the fifjure may require. When made of a transparent 
material a plastron must be lined with silk. 

In using chiffon for such a purpose remember how gauzy it 
is and gather the full width, 40 inches, into a narrow plastron. 
A width of silk— 20 inches— is used for this, or a half-width of 
woollen goods 40 inches wide. Velvet makes a handsome 
plastron to wear with a jacket waist. With such a one the 
fronts from the centre fullness to the side seams must be faced 
with the material in the plastron, as it may sometimes show 
under the opened fronts. 




^6 



CHAPTER VIII. 

THE PROPER USE OF HAIRCLOTH. 

ABUSE a friend and you can hardly expect him to give you 
his best efforts, and yet this is what half the professional 
and amateur dressmakers do with haircloth. They do not 
understand using it, and thus do not obtain the best results, for 
which haircloth is blamed. Rid yourself of the idea that any 
substitute will have the same effect as haircloth. 

The latter is miide of genuine horsehair — that is, what is 
manufactured by the American Hair Cloth Company is — which 
will keep in place when crushed in packing or sitting and will, 
like truth, always rise again. Horsehair woven into haircloth 
keeps its elastic and resilient qualities and may bend for a time, 
but never break. It is light in weight, comes in black, gray and 
white, and forms a perfect interlining for skirts, sleeves, revers, 
basque backs, riding habits, etc. It must be cut crosswise — 
remember that in the beginning — and also take heed of the fact 
that there are cotton imitations of haircloth which 1 do not rec- 
ommend, as I believe in using an interlining that will have the 
flaring effect at all times, in damp and dry weather and under all 
circumstances. 

In using haircloth to interline a skirt have it from lo to 20 
inches deep; if it is a trained skirt interline it the depth of the 
train and 20 inches above the ground as well. First have the 
lining seamed up, then lay the haircloth on the wrong side of it 
and lap each width over the other, cutting it crosswise. Bind 
each edge of the lapped part with a bias strip of the lining and 
stitch together; then stitch the upper edge to the lining, leaving 
the lower part basted only. 

Put the dress skirt, which has the seams stitched, to the 
lining so that the raw edges of both come together and arrange 
the seams as described in the chapter devoted to the cutting of 

31 



skirts. As all skirts should be left at first fully an inch too long, 
then turn up the lower edge to the proper wearing length and 
continue the binding as explained in the chapter on binding skirts, 
but never cut the haircloth off at the bottom edge too short to 
turn it up. Such a skirt sets with a graceful flare and stands out 
from the wearer, aiding her to walk in a free, unencumbered 
manner. It is also light in weight, which both health and com- 
fort depend upon. 

Riding-habit bodices are interlined through the postillion or 
skirt part of the back, across the shoulders and chest, to give them 
the most exact fit without a wrinkle. All basques having a fluted 
or godet or box-plaited back need this interlining to keep them in 
shape. For the same reason we apply an interlining to cuffs, the 
various revers now in style and the large collarettes of many 
shapes. Large collars on capes, revers on jackets and the skirt 
back of the latter garment are treated in the same way. Although 
sufficiently stiff to keep its shape, haircloth can be sewed on the 
machine without any trouble. 

For sleeves it is better to use the haircloth in three box-plaited 
ruffles placed on the top half of the sleeve lining, reaching from 
just below the shoulder nearly to the elbow. This gives the puff, 
bishop and leg-of-mutton sleeves a soft, drooping appear- 
ance, without allowing them to hang perfectly flat. This 
method of interlining is explained at length in the chapter on 
fitting waists. 

The inexperienced dressmaker who finds it difficult to make 
her lining skirt separate from the dress fabric can lay the haircloth 
between the lining and goods and stitch it in the seams, then bind 
the seams with a bias strip of the lining; but 1 ^^'ill warn her in 
advance that while this will look better than any other facing or 
interlining, it will not have the same flare as it does when each 
piece is lapped over, as previously described. 

Some ladies wear a petticoat of haircloth made with a yoke and 
upper part of sateen, for the sake of its lightness; then a Spanish 
flounce (i8 inches deep) of haircloth is box plaited on the front 
and sides and godet flutes used at the back. This flounce is 
turned up at the lower edge, faced with sateen and finished with 
a bias velveteen binding or braid, making a skirt for all gowns, 
though personally 1 prefer a silk petticoat and interlined dress 
skirt. Haircloth has a niche of its own, and is one of those for- 
tunate or unfortunate articles used in dressmaking that cannot 
have a satisfactory substitute. 

38 



CHAPTER IX. 

THE FINISHINGS OF A WAIST. 

NEXT to the boning of ;i waist comes the hooks and eyes in 
importance, both as to the kind used and the manner ot^ 
sewing them on. A hook should not be too large, should 
have a long, slender bill, with a safety spring at the under part 
to keep it fastened. The Cameo hooks and eyes will be found 
perfectly capable of answering the above description; they are 
also gotten up in a unique manner, every card bearing the name 
Cameo, with the hooks and eyes set on crosswise and a patent 
automatic sewing measure attached lengthwise to every card. 
This measure is one of the most convenient little affairs, divided 
from eighths to full inches, and is for measuring the distance 
between hooks and eyes, buttons and buttonholes, and for a 
guide in turning up a hem, folding tucks, etc. The hooks and 
eyes on the front edges of a bodice should be half an inch apart, 
the hooks on the right side. The properly made bodice has a 
featherbone stay up each front edge to the height of the darts. 

On the left under side of this place the eyes, so that they 
barely project beyond the edge. Sew with five stitches in each 
loop and four on the right side of the large part of the eye, half- 
way to the top, and then pass on to the next one, without 
breaking the Heminway silk or twist, after measuring the dis- 
tance with the little automatic measure. For a neat tlnish cover 
the eyes with an inch facing of silk, cut bias and blindstitched, 
the turned edge coming nearly to the top of the eye, the latter 
being left free to catch the hook easily. On the right side the 
hooks are put back a trifle from the edge, so that when hooks 
and eyes are attached the edges will meet. The hooks are sewed 
with five stitches in each small loop, taking them straight back, 
and at the extreme top of the bill five more stitches are taken 
crosswise, without interfering with the safety spring in the 
slightest. When the facing is put on the hook side it must 
not come over the spring — only to the lower part of it. If 
covered it will not have the same freedom of action. Many 
dressmakers err in this respect and then censure the maker of 

39 



the hooks. Do not cover the spring and the Cameo hooks 
and eyes will serve you well, keeping the bodice fronts firmly 
and evenly joined. 

After the waist is stitched, making even rows of stitching if 
the waist is to set straight, trim the seams evenly and overcast 
them, separating each in two parts, as they are to be afterward 
pressed open in the centre. Seams are cut in scallops and 
loosely overcast with silk; others are turned in and oversewed; 
others, again, are bound with thin lutestring binding, though all 
are occasionally clipped, to prevent any drawing when the seams 
are pressed. The first method is the easiest, and is now followed 
by the best of French and English dressmakers. Next press, 
using a bit of crinoline between the warm iron and lining. The 
featherboning and finishing the lower edge of the bodice will 
come next, and this is fully explained in Chapter VI. After 
turning up the edge face with a bias piece of silk or the dress 
goods, blindstitching each edge down, as in facing the wrist of a 
sleeve. If there is no outside vest or plastron on the centre front 
it is well to put a ''blind" or "fly" down the left side of the 
front edge, to prevent any hint of the underwear showing 
through. This should be an inch wide, of the lining and the 
outside fabric, shaped like the edge, rounded over the bust and 
in at the waistline, and then stitched to the left front of the 
waist. 

The belt should be set so that its lower edge is quarter of an 
inch above the waistline, to keep the bodice down at the back. 
This is featherstitched with silk twist at the centre back, side form 
and side gore seams, and when hooked in front should be a trifle 
tighter than the bodice, from which it takes the strain at the 
waistline. Use the best of dress shields to protect a dress from 
perspiration, and when sewing them on put the needle through 
the covering of the shield, not the rubber. Catch it in the 
armsize at each end and twice to the lining belo-y, putting the 
back of the shield nearly to the side form seam, but making the 
shield come forward, not directly under the arm. Sew buttons 
on firmly with silk twist. Stitch silk and woollen bodices with 
M. Heminway & Sons' sewing silk and skirts with Clark's 
O. N. T. thread. Buttonholes in cotton waists are three- 
fourths of an inch apart and cut an eighth of an inch back of 
the edge. Silk belts worn with Griffon shirt waists or round 
f^mcy waists may be fastened to the skirt at the back with a 
gold or silver Clinton safety pin. 

40 



CHAPTER X. 

HTTING UNUSUAL FIGURES, 

S PERSONS are not made according to a certain grade of 
measures, they are not fitted with one style of pattern or 
over one form of corset. It is now recognized that the 
corset has much to do with the fit of a gown, and some dress- 
makers go further and say that the corset, corset cover and 
petticoat should all be caretlilly fitted to the wearer before the 
dress waist is. The short, stout figure, the short but not stout 
woman, the very tall, thin figure and the woman that is very 
short and slender all differ from the ordinary figure, which weighs 
about 130 pounds, is five feet five inches in height, bust measure 
36 inches and waist measure 24. 

If the chapter on "Healthful Dressing" is read there can be 
no excuse for improper underwear, and the corset is now the 
important point. To get the correct fit in corsets, measure the 
waist outside of the dress and allow three inches, unless pos- 
sessed of a very large abdomen, in which case only allow two 
inches less for the corset. A short, stout figure, having a very 
short waist, requires a corset with full bust, full hip measure and 
low under the arms, which requirements are to be found in the 
R. & G. brand, Nos. 716 and ^99. The short figure that is not 
unusually stout or short waisted allows the same three inches 
difference in the waist measure, a 30-inch waist needing a 
27-inch corset, and then selects No. 6^} of the same make of 
corsets, remembering that a light-weight, flexible material will 
wear better and fit itself to the form more readily than any other. 

Slender forms that are short and with a medium length 
of waist can wear No. 611 of the R. & G. corsets. Then the 
special long waist. No. 204, will recommend itself to those of a 
very long waistline with full hips and bust. The tall, thin 
figure, so often alluded to as a beanpole, needs a great deal of 
building up, but the result is worth the trouble. "As grace is 
the highest form of expression," aim to build up the form with- 
out giving the appearance of using artificial means, as to-day a 
woman who does not possess the necessary adjuncts for such 

41 



improvement does not conform to the demand of the times. It 
is part of woman's mission to make herself as graceful as possible. 
All of this may be accomplished by the corset marked R. & 
G., No. loi, which has an extra long waist, with the bust cups 
narrow at the base, which permits the raising of whatever bosom 
the wearer may have. Do not lace the corset closely at the top, 
but leave it open, as usual, and fill in the front. Such a figure is 
flat under the arms, so commence padding at the centre front 
with curled hair covered in soft sateen, fitting the inside of the 
corset from a mere point near the steels to a crescent shape under 
the arms and narrow toward the back again. Arrange hip pads 




of sateen and hair, shaping them to the corset, deepest over the 
middle of the hips and narrowing toward the centre, back and 
front. These must be tacked to the inside of the corset. 

Use two flat laces, silk or linen, and lace both from the centre 
of the waistline, one up and the other down. For the first few 
days a corset should not be laced tightly; let it stretch a little and 
mold itself to the figure and then tighten the laces; but a corset 
should not be worn so tight that the wearer cannot feel her body 
move in it. When necessary alter the part over the hips, by the 
lower lace only. Do not use a rubber lacing, as it stretches the 
dress seams. A corset steel will not press into the wearer if the 

42 



proper make of corsets for that particular figure is worn and 
laced properly. Do not buy an extra long-waisted corset imag- 
ining that you can grow to it. 

A corset must fit the wearer and not the wearer squeeze 
herself to the shape of some certain corset. This brand of 
corsets alluded to never shows across the top outside of the dress 
if the proper measures are taken for the size of the corset. The 
boning does not run clear to the top, but stops an inch below, 
thus avoiding this common fault, and llts better for it as well. 
There are excellent corsets made nowadays for a dollar, but 1 
would rather induce persons to pay a higher price, for the more 
light and pliable the corset the better the service. 

The figures on the preceding page show the effect of proper fit- 
ting and dressing. On the right figure there is a full circular skirt, 
large sleeves, a round waist having a full plastron, a belt which 
only draws attention to the waistline and large revers, all being 
in bright colors. The hair is very fluffy around the face and 
makes it more moon-like than even nature intended. Her corset 
is too short waisted, and altogether the picture is not a happy 
one. The left figure has on a properly fitting R. & G. corset 
and her skirt is cut with eight gores, the many seams adding to 
the apparent height. The basque has a godet or fluted effect at 
the back and slopes away from a narrow pointed vest braided in 
lengthwise scrolls bordered by long, slender revers. The collar 
is not especially high, though of the crush or stock order, and 
the sleeves are moderately full. The hair is arranged in a high 
knot at the top, with only a small quantity curled on either side, 
showing a centre parting. All of the costume aims at giving 
length, and it is certainly a vast improvement on the second 
figure and shows what suitable and correct gowning will do. 

Women of a short, full figure complain that the fashions are 
not made for them, which is true in a degree; but they must 
change the styles to suit their especial needs, which is easily 
accomplished after acquiring the necessary ''know how." The 
Heath belt described in "Healthful Dressing" is excellent for 
stout women, as it reduces their apparent size and affords them 
a support as well. No size is added to the waistline, and the hips 
and abdomen are reduced. Belts add to the circumference of the 
waistline and should be abolished. Never despair of your figure ; 
each and all may be improved, but only with the correct corset. In 
the chapter on "Cutting and Fitting Waists" directions are given 
for fitting the lining for very full or exceedingly slender persons. 

43 



CHAPTER XL 

MOURNING STYLES AND MATERIALS. 

WITHIN the life of each of us comes the sorrowful time 
when mourning attire is necessary, and comparatively 
few know what fabrics should be used during this period 
or how they should be made up in order to be thoroughly correct. 
Good mourning, which of course includes crape, is very hand- 
some and refined in its appearance, and, while the first outlay is 
seemingly expensive, the materials last a long time. 

I always prefer Priestley's black goods, for their durability, 
variety and uniform black. It is an easy matter to know when 
you receive these fabrics as they are all stamped upon the selvedge 
with the firm's name. All of the materials mentioned are from 
this manufacturer. As black gowns are fashionable for those in 
and out of mourning, it is not an extravagance to buy them of 
good quality, as they can be cleaned and made over as no other 
fabric may be. 

The deepest mourning is that worn by a widow, who dons 
Courtauld's English crape for at least a year. Her first dress 
should be of Eudora, which is a smooth, silk-warp material that 
may be spoken of as a perfected Henrietta. This latter name, how- 
ever, has been so abused by using it for all-wool goods that it no 
lono^er means only a silk-warp fabric. Eudora more than fills its 
place, possessing a handsome lustre and feel and of a pure silk 
warp. This trims well with crape and should be made up in the 
prevailing fashion, without going to the extreme. A skirt, cape 
and basque usually form the first costume intended for street wear. 

In using English crapes see that the crimps run from the 
left to right, diagonally. Even fine dressmakers sometimes 
err in making up crape on the wrong side. If cut on the bias 
crape will present straight lines; it is so pliable that it can be 

44 



shaped to any foundation and should be perfectly smooth, never 
puckered. 

Such a trimming as crape should not be placed on the bot- 
tom of a skirt, where the hardest wear naturally comes. Folds 
set at least three inches above the edge are the only ones to be 
tolerated, and it is far better to put all such trimming on the 



Right Side. 



CRAPE. 



Wrono; Side. 




SELVEDGE. 



basque in the shape of revers, a flat vest or full plastron, cuffs, 
high or crush collar, collarette, belt, etc., as Dame Fashion may 
dictate. The outside garment should be finished with crape folds 
on the edge, as a turnover collar and collarette. 

For a time the use of crape dropped off, but during the past 
season it has again risen in favor, commencing in Paris and ex- 
tending to Vienna, Berlin, London and the United States. Use it 
correctly and it will give you satisfaction, but never treat it as you 
would a hard twill serge, etc. 

A widow's crape veil can be bought ready made, with 
woven hems or by the yard, and the hems blind-stitched down. 
When complete it should at h\nf reach the waistline at the back, 
where the hem is three inches deep, and to the knees in front 
where an eight-inch hem is taken. 

The small bonnet is covered plainly with crape, with milliners' 
folds on the edge, a white ruche inside and narrow black gros- 
grain ties. Over this the veil is draped and caught with dull jet 
pins on each side in small plaits. 

At the end of six months or a year the veil may be unpinned 
and draped so as to hang in two layers at the back, with a small 
face veil of Brussels net edged with crape. Courtauld makes a 
waterproof crape that is excellent for general wear for both veils 
and dress trimmings. The silk-warp nun's veiling is also used for 
rainy days and travelling for both bonnets and veils, the latter being 
made and pinned on the bonnet in a similar manner to the crape. 

A second dress for a widow, or any one wearing mourning, 

4^ 



should be of the silk-and-wool or all-wool Crape Cloth, which has 
the crimpy appearance of crape and makes up well alone or with 
crape. This is suitable for house or street wear and is often 
adopted by persons for the deepest mourning when they do not 
wear crape. Soleil is what I term a wool satin, as it has the gloss 
of this fabric combined with the softness of wool. For a hand- 
some house gown in place of a mourning silk this makes up 
stylishly with crape, dull jet passementerie or lustreless silk. 

Imperial serge furnishes the widow with a gown for general 
wear, made up with self-trimmings in the way of accessories and 
stitched edges. This is also worn by many ladies out of mourn- 
ing. For warm weather the all-wool and silk-warp Clairette is 
as light as the traditional feather and also shakes the midsummer 
dust easily. The plainer gown for this time is of Tamise, a hard- 
twisted, durable material of light weight. A widow wears suede 
gloves as long as she is in deep mourning. During the second 
year she may wear black without crape and then put on quiet 
colors, though many wear crape for two years and plain black for 
one. Her bonnet for the latter time can be of straw or felt 
trimmed with black flowers, gros-grain ribbon, wings, etc. 

A child wears deep mourning for a parent a year, or six 
months and lighter for a year, the same rule holding good for a 
parent wearing mourning for a child, a sister for a brother, a 
grandparent, etc. Nowadays people go from plain black into 
colors, but it is in better taste not to adopt the brightest shades at 
first. When wearing crape colors cannot be donned without a 
period devoted to plain black in the mean time. With the latter 
costume wear a face veil of net edged with English crape and 
suede or glace kid gloves. 

At this time white lisse can be worn in the neck and sleeves, 
and even with her first mourning a widow wears a turnover 
collar and cuffs of batiste or lawn, hemstitched. Pure white for 
house wear is considered correct in all mourning. Black and 
white pique suits are worn in Summer with a white or black 
lawn shirt waist. Mourning has been defined as an outward 
mark of inward affection and respect and often prevents unkind 
remarks, as the wearing of crape at once tells the thoughtless 
inquirer that the wearer has suffered a loss which is at once 
respected. 



46 



CHAPTER XIL 



COLUMBIA BICYCLE COSTUMES. 

A HANDBOOK for the home dressmaker would prove incom- 
plete without a chapter upon costumes to be worn by 
wheelwomen, who may be found in every city, town and 
village, gaining health and renewed 
youth in this delightful exercise. 
A neat costume and a perfect wheel 
are necessary, and for the latter there 
is but one recommended — the Co- 
lumbia, which is dainty to look 
upon, light to move and absolutely 
flawless in its appointments and fit- 
tings. It is the universal favorite, 
and this season Model 41 is the one 
that every woman cyclist covets. 
There have been many pros and 
cons on the subject of bicycling, but 
the universal opinion is in favor of 
this now settled exercise. It exer- 
cises every muscle of the body, de- 
velops observation and a love of 
nature and sends the wheelwoman 
home after an hour or two of riding 
with a healthy appetite, cheerful 
spirits and an invigorated body. 
One cannot be melancholy and ride 
a Columbia bicycle; it is a universal 
panacea for the "blues " 

Two handsome costumes are 
illustrated that are appropriately 
named Columbia, after the well- 
known wheel — one in the French 
bloomer style and the other with a 
short skirtj which is, of course, 




47 



r>r,P of these su'ts is made of a cheviot in a rich 
more conservative. O"*^ f ^^"J '" ' . the other of heavy serge 
brown shade-the jacket des.gn-and the o^ ^^^.^^ 

in dark blue, both 'o'°'r^"'*"""^„'*"^' ^" th^se materials are 
must be met with ^^^^^^^'''"^"'toftht beiniaUke suitable for 
,,,venetted o^/^^^-^p ^^7 : ; ^es -^ Imperial twills, 
^rrrhlviX arrrtreL L slmped on the selvedge 




every iJ'yards with the word^Cravenette ,• as we.U 
back of the matenal. P"-tley s ravenette .^^^ ^^^ .^ 

and have the firm's name as ^'^'j.^^'y^ie costume as navy 
black and standard colors "PP-pr te ^ - '^^ ^^„,ed goods 
blue, gray, brown and green. 1 hese are 

made by Priestley. , , j ,, fair rider 

Mounted on an attractive Columbia wheel 

48 



attired in the newest of Columbia bloomer suits. The bloomers, 
or Turkish trousers, can be fitted to a yoke or with four darts in 
front to a belt, with side plaits over the hips and at the back, 
making the garment gracefully full. At the lower end they are 
gathered to a band and buttoned just below the knee, the full- 
ness falling several inches lower. These rec^uire 2% yards of 
goods 42 inches wide, using a width in each trouser leg. The 
leggins are of the same material, both articles being lined with 
silesia, fastened with tiny black buttons and the usual leather 
strap. They reach to the band of the bloomers and require 
three-quarters of a yard of 42-inch goods. The Norfolk jacket 
has three applied plaits in front, each stitched on the edges, with 
the centre one ending at the large revers. There are also three 
plaits at the back, with a turnover collar to the revers, besides a 
high collar and V of the goods, which can be made removable, 
so as to wear a linen chemisette occasionally. In the illustration 
a high turnover linen collar is worn and black tie. The large 
sleeves are plaited into the armholes and trimmed with a fold of 
the goods and small bone buttons, to imitate cuffs; similar but- 
tons trim the inner edges of the two outer plaits. Belt of the 
cravenette serge, fastening with a buckle in front. The jacket is 
lined with silesia and boned in front, at the centre back, side 
seams and darts, though perfectly easy in fit and with very large 
armholes to admit of free use of the arms. This needs four 
yards of 44-inch goods. Black Oxford ties are worn having low 
heels, black hose and a blue straw sailor hat decorated with a 
folded crownband and upright loops of ribbon on either side. 

A bicycle costume is not complete without a pair of Foster 
bicycle gloves, in browi, tan or any shade harmonizing with the 
costume. These o:loves are of chevrette leather, stitched with 
saddlers' silk, well fitted and durable, with large hook fastenings 
that are convenient for the wheelwomen to quickly jasten or as 
quickly remove when the occasion arrives for it. They are 
stamped with the name inside of the wrist. 

The figure dismounted by her Columbia bicycle has on a 
jacket suit of brown cravenetted twill, with a lighter shade ot 
felt Alpine hat having a band and bow of ribbon, black ties and 
hose and a cotton shirt waist, with a leather belt. The leggins 
are of the same style as those on the other fgure; the trousers 
are similar, only shorter, as they do not show. In fact, many 
ladies omit these with a skirt, but I find that experienced riders 
prefer them. These two garments need the quantities of material 

49 



as given before. The cutaway jacket is lined with Nubian sateen, 
silesia or silk; has large armholes and is a close fit. It is cut in 
deep, square tabs all around, without extra fullness at the back, 
and has a rolled collar ending in tapering revers. The large 
sleeves are plaited in the armholes and have deep cuffs pointed 
to ard the outside, with a row of buttons down the outer edge. 
The short skirt is lined with silk or percaline, has a six-inch hem 
stitched in several rows, narrow front, back in two box plaits 
and three kilt plaits on each side, being not over three yards in 
width. Light-brown Foster bicycle gloves are worn with this 
Columbia suit, the jacket and skirt of which require 6>^ yards of 
serge. Most of the skirts have on each side, three or four inches 
above the edge and i6 inches apart in front, a loop of silk elastic 
or a small brass ring, which is fastened to a button on the leg- 
gin, to keep the skirt from blowing. When mounting a wheel 
see that the skirt is not all pushed under, but leave sufficient in 
front to allow for the free motion of the legs. Short corsets must 
be worn, and tights are preferred to drawers. Seven inches 
from the ground is a good length for a skirt. Above all, sit 
straight on your wheel, and with the well-balanced seat of the 
Columbia bicycles this is an easy position to take. 




50 



CHAPTER Xin, 

MATERNITY GOWNS. 

THERE is a constant complaint among ladies that magazines 
do not pay sufficient attention to this style of costume, 
which must be worn, nevertheless. A gown for this pur- 
pose must be perfectly comfortable, look well — as 1 have said 
before, I believe in women dressing as well as their circumstances 
will allow— and also conceal the figure in a measure. The un- 
derwear should be the Mattelutz with black hosiery held by 
the Velvet Grip Hose Supporter, which will neither cut nor slip, 
fastening to the corset waist or to a shaped belt. This part 
of the toilette remains much as before, taking care not to 
wear it too heavy at any time. When pure wool is worn 
next to the body a very light weight will keep one comfortably 
warm and give less to carry around. The most important article 
comes next, viz., a comfortable, well-fittir:g corset waist that 
will keep the figure and add both to the appearance and health 
of the wearer. Use an Equipoise Waist, which is supported 
from the shoulders and combines two articles in one — the 
corset waist and a corset cover. Take a tight measure around 
the waist over the dress and get the same size. This waist is 
made for ladies, misses and children, and is perfectly adjusted to 
the figure. Being made of the best material the Equipoise Waist 
will outwear other corset waists. 

Now put on white muslin drawers, made amply wide and 
finished with a yoke; these come just below the bend of the 
knee. Over these wear a short white muslin petticoat, on a 
yoke, and a corset cover or an equally short chemise ; the latter 
garment is well fitted nowadays without fullness at the waistline, 
but the petticoat and corset cover take up less room. Now comes 
a second petticoat, of silk, alpaca, moreen, sateen, seersucker, 
etc., also made on a yoke, and it is a good idea to have these 
yokes made with a drawing string at the top, so that they may 

51 



be enlarged as the occasion requires. During the Winter woollen 
drawers to match the vest and a flannel skirt on a yoke should be 
added, and dressed in this style the wearer is warm, free from 
bands, etc., and has no undue weight to carry. The Heath 
health belt is also recommended for wear at this time, worn 
attached to the outer petticoat. It keeps the figure in shape and 
gives the support now doubly necessary. It can be purchased 
attached to a silk petticoat that has a stylish flare or the belt is 
sold separate and sewed to any petticoat; but, of course, the 
skirt must be shaped to fit on the lower edge of the belt. 

As for the dress itself there is usually provision made for a 
home gown, one for the street and one for nicer wear. The street 
suit should be of an inconspicuous color and either of a plain 
or small figured material. The indistinctly striped cheviots and 
Priestley cravenettes are excellent for this with velvet trimming. 
The skirt should be of a fashionable style, without trimming, 
interlined with haircloth to a depth of lo to 20 inches and fitted 
to a yoke four inches deep at the top. Be careful to allow for any 
"hiking" or uplifting at the centre front. If the skirt is sewed 
to a band in preference the top of the front width should be 
curved up instead of down and sewed to the belt, with a few 
gathers in order to have an easy fit over the abdomen. Run a 
drawing string in the top of the yoke at the back or allow a large 
lap over on both yoke and band, to provide for their enlargement. 

The sleeves can be of the reigning fashion and the waist 
take the form of a reefer jacket, which is a standard garment and 
one in good taste for all seasons. This will have loose, double- 
breasted fronts with an ample lap-over fastened with six large, 
handsome buttons. This has a centre-back, side-form and side- 
gore pieces, with the back flat, laid in a centre box plait or in 
three flutes called godets. This is one of the garments that you 
will certainly need a paper pattern for. The jacket should well 
cover the hips and abdomen, say seven inches below the 
waistline. 

It can have a turnover collar and revers of velvet, leaving a 
V-shaped space to fill in with a linen or silk chemisette, or be cut 
high in the neck, with a straight or turnover collar of the A. W. 
B. Boulevard velvet. Line with silesia or sateen and interline the 
plaits or godets at the back as well as the collar and revers with 
haircloth. Make the lining and outside separate and turn the 
seams toward each other. Stitch the edges with M. Heminway 
& Sons' silk as a finish. 

52 



For morning wear a dressing sacque of striped flannel, 
flannelette, cotton goods, cashmere, etc., with an odd skirt or a 
loose wrapper, may be donned. For the afternoon nothing is 
neater or more comfortable than a teagown, which is one of the 
most convenient fashions that our English cousins ever sent over 
to us. This can be made v/ith a close princess back or a flowing 
Watteau plait and close-fitting princess fronts, with a perfectly 
loose outer front of a soft contrasting material, as Japanese silk, 
crepon, etc. Under this front the lining hooks, leaving the centre 
to be lapped and hooked on the left side under the princess front of 
dress goods. The centre front is shirred or plaited to form a yoke, 
and a turnover or crush collar is attached. Large sleeves of the 
prevailing style. Ribbon bows, lace ruffles on the wrists, shoul- 
ders, down the front edges, etc., are permissible, as a teagown 
may be more or less trimmed, according to the taste and purse. 

For dressy wear a silk or woollen gown should have a skirt 
similar to the one described for a cheviot gown and sleeves ac- 
cording to the prevailing style. For a waist there must be a full 
effect, to counteract the form. A slightly pointed short waist, to 
which a five-inch ripple piece is added (see chapter on waist 
accessories), has a good appearance if the fronts are flat and the 
full or ripple effect commences at the hips, continuing across the 
back. Have revers and crush collar of velvet or silk and add a 
loose plastron to drop over the waistline, which should be of soft 
silk, net, chiffon, etc., as it must be fluffy, but not bulky. Keep 
the skirt and waist closely connected at the back with the Clinton 
skirt supporter or safety pin, as a drooping skirt and lifted waist 
possess neither style nor comfort. 

All of this style of dress is not of the so-called "dress 
reform " school, but it combines light weight, comfort, warmth, 
utility and a decent appearance, which traits many reform ideas 
do not include. I believe in reforming dress, inasmuch as health 
and comfort demand the above essentials, but 1 cannot see the 
need of making one's self look like a "guy," under any circum- 
stances. At this trying time every woman wants comfort, and at 
the same time her natural good sense and modesty demand a 
gown that will render her less conspicuous, and these points are 
kept in view when describing costumes. 



53 



CHAPTER XIV. 

DEFINITIONS NOT GENERALLY KNOWN. 

THERE is a lack of understanding in regard to the glossary of 
terms used among dressmakers and well-informed dry 
goods men. As such words are constantly appearing in 
fashion writers' notes, many of whom are also ignorant of their 
meaning, I add a list of the terms, thinking them of interest to 
my readers : 

Aproii. — Any kind of a draped or flat skirt front. 

Accordion T'laitiiig. — The finest of single plaits done by 
machinery; steamed and dried so as to retain their shape. 

Ajoiir. — An openwork effect in embroidery. 

Antique. — A word used to designate styles of former cen- 
turies, such as satin antique, moire antique, etc. 

Applique. — To apply one material to another, as lace applied 
to silk in a piece or single designs of leaves, a vine, etc. : also 
used as the name of a lace. 

Arabesque. — A scroll figure. 

Aruiure. — A fancy weave having a bird's-eye or diaper effect. 

AsfrakJmn. — Fur of the Astrakhan goat; very wavy and 
short. 

^abv Lamb. — Skin of still-born Persian lamb. 

^ag or FreiicJi Seam. — Seams stitched first on the right side 
and then on the wrong, leaving no raw edges. 

"Basque. — A tight-fitting waist extending below the waist- 
line in different shapes; after the dress of the Basque peasants of 
France. 

Bayadere. — Stripes running crosswise of the goods. 

Bengaline. — Applied to silk and woollen goods, as well as to 

54 



a small round cord filled with wool or silk. When the cord takes 
a fancy appearance the fibric is called crystal. 

Bertha. — A trimming following the outline of a low-cut- 
neck dress, narrowing over the shoulders and made full, as a lace 
ruffle, or plain, as a shaped piece of velvet. 

Bciirrc. — Butter color. 

'BisJwp Sleeve. — A shape like those worn on the robes of the 
bishops of the Episcopal Church ; gathered at the top and again 
at the wrist into a straight cuff 

^laier. — A cutaway jacket extending below the waistline. 

'Blome. — Loose round waist. 

"Boa. — Round fluffy article, long or short, for the neck; made 
of ribbon, lace or fur. 

Bodice. —A tight-fitting waist. 

Bolero. — A small round sleeveless jacket, after the style of 
the Spanish national costume. 

Border. — Any trimming put on an edge or just above it. 

Boiicle. — Tiny locks of hair scattered over the surface of a 
woollen fabric. 

bouffant. ^A very full effect. 

T^oiiillonnee. — A puffing. 

Boitiette. — Rough threads or knots appearing as straight or 
broken stripes. 

Bracelet Cuff. — A straight band around the arm. 

Bretelle. — Sometimes called suspender trimming, as it extends 
from the shoulder — back and front or in front only — to the belt or 
edge of the bodice. 

Broclie (also leritten Brocade). — KtsQmhWng embroidery, 
though the effect is obtained by weaving. 

Brode. — Embroidered effects. 

Cabochojis. — Large jet, steel, pearl, etc., nailheads or brooches 
used in passementerie and for millinery. 

Caraciile. — Fine Astrakhan fur, looking as though it had been 
moired or watered. 

Carrean. — A square or check figure. 

Chatigeaiit and CJiaiiieleoii. — Changeable effects from weav- 
ing two or three colors together. 

Chiffon. — The softest thin silk material manufactured. 



Q;;;/i'.— Effects obtained by printing the warp before weav- 
ing, making the filling then of a plain color. 

Choux. — A large rosette like a cabbage. 

Collarette. — Large collar of various shapes covering the 
shoulders. 

Collet. — A small cape or large collar. 

Crepe Usse.—A light silk fabric, very thin and transparent, 
but feeling like crape. 

Cnish "Belt— One of soft folds. 

Cuirasse. — A perfectly plain, tight-fitting waist. 

Ciiir. — Leather colored. 

'Dresden. — Warp-print figures, like those used on Dresden 
chine. 

Drop Skirt.— A skirt of the dress material, made up separate 
from the lining and then hung or dropped from the same belt. 

Duchesse. — The best satin fabric known. 

Dutch Neck. — A square or round neck cut down only two 
inches below the throat. 

Epaulette. — A trimming to fall over the shoulders. 

£/o//.— Short jacket after the style of the boys' uniform at 
the Eton school. 

Facoiiue. — Fancy. 

Faille Fraucaise. — A silken material having a soft cord. 

Fichu. — A small cape, usually having long ends in front. 

French Bach. — A name applied to a single or double pointed 
yoke on a shirt waist. 

French Gathers. — Gathers made of one long stitch on the 
outside and one underneath, and alternating. 

Frogs. — Braid ornaments. 

Full Bach. — The straight back widths of a skirt gathered in 
two rows at the top. 

Galloon and Passementerie. — Bead, silk, spangles, etc., dress 
trimmings. 

Gaujfre. — An effect seen in silk where the material is pressed 
into forms or patterns. 

Gauntlet Ciif.— One shaped like the gauntlet on a riding 
glove modelled after the spreading cuffs on the ancient mailed 
gloves of knights. 

56 



G/;^o/.— Sleeves in a large puff at the top of the arm and close 
below. 

Girdle — A cord, shaped belt or cincture for the waistline. 
Glace. — {S^t changeant.) When applied to kid gloves it 
means a smooth or dressed surface. 

Godet.—Kound or organ-pipe plaits or tlutes, worn on skirts, 
basques and capes. 

Gorget. — A high collar shaped low in front on the lower 
edge, like the collars of the coats of mail formerly worn by 
knights. 

Granite. — An armure effect in both silk and woollen goods. 

Gros Grain, Gros de Londres, Etc. — Small ribbed silk goods. 

Guinipe. — Yoke of white or colored material usually worn by 
children. 

Harlequin. — Of three or more separate colors. 

Iniprime. — Printed. 

Iridescent. — Rainbow, shot and changeable effects. 

Jabot.— A trimming, usually of lace, which is gathered very 
full and allowed to fail as it will in shells. 

Jardiniere. — Color effects resembling a garden of flowers. 

Lance. — Small dots; also wvitten petits po is. 

Lapels. —See revers. 

Leg-of-Mitttoii Sleeve.— One full at the top and close fitting at 
the wrist, shaped similar to a leg of mutton. 

Liberty Satin. — A soft, lustrous satin. 

Lonisine.—A thin, soft silk. 

Loi/is XFL , Regence, IDirectoire, Empire, Victorian, Colonial, 
Etc. — Styles that prevailed at certain periods in different countries. 

Melange. — ^A mixed effect of two or more colors. 

Merveillenx and Rliadames. — Of the satin class of goods. 

Miroir Velvet. — Looking-glass effects obtained by ironing. 

Moire. — A water effect like spreading waves over a silk, 
cotton or woollen surface. 

Motif. — Part of a design, as a leaf from a spray of flowers. 
Mousseline de Sole. — Transparent silk material. 
Nacre. — Mother-of-pearl effects. 
Natte. — The basket weave. 

.57 



Natural Color. — The grayish flax shade known as "Natural," 
viz., undyed. 

Ottoman. — A large rep or rib. 

Oriental, Tersian, Cashmere, Indienne. — Names applied to a 
series of colors and patterns formerly found on cashmere shawls. 

Taillette. — Spangles of gelatine. 

Plastron. — A full front to a waist. 

Panache. — A cluster of short feathers. 

Panel. — A straight or tapering piece set in the front or sides 
of a skirt, usually between rows of trimming, so as to give the 
idea of an inlay. 

Peaji and Poult de Sole. — Of the family of satins. 

Placket. — The opening left at the side or back of a skirt. 

Plait. — Knife plaits are narrow folds turned to one side; box 
plaits have a fold turned toward either side, and double and triple 
box plaits have two or three folds; kilt plaits are single folds 
turned one way. 

PI u metis. — Printed and dotted fabrics. 

Pointille.—Doned. 

Polonaise. — A waist and overskirt combined in one garment; 
taken from the national costume of Poland. 

Pompadour Effects. — Mixed colorings in light shades, as was 
worn in the time of Louis XV. and Mme. de Pompadour. 

T^ostillion. — Flat back to a basque formed by extensions on 
the centre back pieces. 

'Princess.— K style of dress in which the waist and skirt are 
made in one-piece breadths from neck to feet. 

Qiiadrille. — Small checks or squares. 

Qiiilling. — A narrow plait effect; a rose quilling is a very full 
triple box plaiting stitched through the middle, so as to have an 
effect like a row of full-blown roses. 

%ain Fringe. — Single strands of beads fastened to a wide or 
narrow beading. 

Raye. — Striped. 

Redingote. — An outside garment cut in princess style, with a 
skirt front beneath. 

Revers. — Pointed or square pieces turned back or reversed, 
usually on the front of a waist. 

58 



Ruche.— A trimming of lace, silk, ribbon, etc., laid in plaits 
and stitched in the middle or toward one side. 

Sciiitillaute. — Changeable. 

Shaped "Belt. —One made of folds or a plain piece of material 
laid over a boned lining shaped to fit over the waistline and below 
it, being a little deeper in front than at the back where it rounds 
up according to the form. 

Shirr. — Two or more rows of gathers having a space 
between. 

Spanish Flounce. — A flounce extending fully half the depth 
of the skirt, gathered usually to form an erect ruffle. 

Stock Collar.— A full collar or belt made of soft folds, in 
imitation of the stocks of so years ago, called crush collars and 
belts as well. 

Strass. — Paste or artificial diamonds, also called Rhinestones. 

Suede AT/;/.— Undressed kid; a skin from which the outer part 
has been rubbed off or skinned. 

Surah. —A soft silk woven in nearly invisible cords. 

Taffefa. — A smooth weave of silk. 

'Vandyke. — Pointed effects seen in laces, trimmings, etc. 

l^elour. — Velvet. 

l^est. — A flat centre-front trimming for a waist and also a 
separate garment. 

yShaped — An expression applied to a low-necked waist 
cut out in the shape of a V at the neck; also used to designate the 
shape of vests. 

IVatteau Fold. — A box plait down the centre of the back of 
a princess gown, which is laid only from the neck to the waist- 
line and then hangs free. 

Yoke.— A trimming of a square, round or pointed shape for 
the chest and shoulders. 

Ziheline. — Woollen material having long hairs. 



59 



CHAPTER XV, 

APPROPRIATE COLORS AND MATERIALS. 

WHAT to wear to improve one's appearance and to disguise 
one's poor points is a bit of knowledge sought for by 
many. I cannot claim to make all beautiful, but I do 
know from the best of teachers — experience — that any woman 
can be improved by a tasteful selection of shades and dress 
fabrics. 

A short, stout figure must not wear bright colors, a plaid, 
wide stripes or large designs. Narrow stripes, tiny patterns or 
very small checks will, however, cause such a person to look 
more slender than a plain material, unless it is black. Rough 
materials must not be even looked at by such a figure for fear that 
the possessor might be tempted to buy them, and then regret it 
as long as the dress lasted. 

A stout woman that is tall has an easier task in dressing her 
figure, as it only requires condensing in width. Narrow and 
medium stripes (ditto figures), checks and plain goods may be 
used in dark and light shades. Avoid a mass of white, and if a 
white gown is worn during the Summer, white being appropriate 
for all ages, select a ribbed pique or a corded dimity. 

Short, slender women can wear any color, but their lack of 
height prevents immense plaids, wide stripes and very large 
designs from being just what they want. The happy medium is 
better in every respect here in styles and designs. One thing to 
be remembered is that too broad effects cannot be successfully 
carried off by a woman under 5 feet 4 inches, no matter what the 
reigning fashions may be. 

The tall, not-too-slender woman of about 5 feet 6 inches, and 
weighing 140 pounds, is the one that it is a delight to dress, 
especially if she has a good walk, round waistline and long 

60 



waist. This lucky woman can wear anything, but she is not 
often found. 

The very slender woman of more than medium height is now 
in the best of luck, for all the fashions just suit her. She can even 
wear tiny stripes, because the boiiffaut style of dress will counter- 
act this material. 

Let her indulge in flaring skirts, large sleeves, big collarettes, 
round waists, full-skirted coat basques, crush collars and fluffy 
trimmings. A full ruff of two-inch lace turned over the top of a 
crush collar w 11 soften the longest face in existence. 

It is no idle vanity to study your needs and enhance your 
good points, unless carried to excess and important duties 
neglected, too much extravagance engendered and selfishness 
cultivated therefrom. 

In regard to shades for different complexions there is much 
to be learned, but a few general rules can be followed by every 
one. So many of my correspondents through the Ladies' Home 
Journal (I do not answer personal letters through any other 
medium) ask what colors will suit their hair. Now, the hair is a 
secondary consideration, except it be a carroty red. 

The complexion is the first guide; then the hair and eyes. 
The skin with a color can wear what the same degree of fairness 
without a rosy fiush could not touch. Then some complexions 
have color at night and not during the day, and all of this must be 
thought of when buying an evening gown. Others can wear a 
color, like navy blue, which is unbecoming alone, but if a touch 
of pink or red is put with it the whole effect is pleasing. 

Navy blue has an old effect upon any skin, except a fresh, 
rosy blonde, and brings out lines hitherto invisible to any eyes; 
but combine pink, cardinal or gold with it and the entire effect is 
different. Some people claim that they cannot wear black, but as 
black is always in good style and forms the most convenient 
gown for all occasions, it is well to know that all ages, sizes and 
complexions can wear it by using a becoming color next to the 
face. 

Velvet is the most becoming of materials, then soft, woollen 
goods, figured silks, plain silks, figured cottons, and finally plain 
cotton goods. Lace has a softening effect, especially in cream 
shades. 

What is known as a brune blonde (neither light nor dark) 
can wear almost any color, but if sallow steel gray, clear white, 
navy blue, brick red, yellowish green and grayish tan must be 

6i 



avoided. A clear, light blonde can wear anything but light red, 
gold, deep pink, reddish purple and yellowish brown. Very 
dark red and mauve are becoming to every style of blonde com- 
plexion. 

Red-haired women usually have clear complexions, but from 
the nature of the hair let them flee from emerald green, yellow, 
pink, light red, light purple, golden tan and pinkish gray. Black, 
cream, pale and dark green, light and navy blue, violet, turquoise, 
gray and nut brown are becoming for the Titian-red locks, as 
well as deep coppery-red tints. 

The rosy brunette may wear with satisfaction cream, pale 
blue, pink of every shade, ditto red, clear and reddish purple, 
yellow of every shade, navy blue combined with pink or red, 
brown of every tint, pinkish gray, ditto mauve, and dark green. 
A sallow brunette needs warm tones to supply the rosy flush 
denied by nature. Let her avoid all blues, gray, violet, green 
and white. Yellow, orange, deep and rose pink, bright and dark 
red, golden and reddish browns and reddish purple are the shades 
for such a skin. Black is also becoming when combined with 
pink or gold. 

Old rose is rather a passe color just now, but it is lovely for 
all that and combines beautifully with black, gray, white and 
brown. It can be worn by a drab blonde, brune blonde, rosy 
and sallow brunette. By the way, 1 wonder how many realize 
that sallowness comes chiefly from a torpid liver, and if proper 
food, frequent bathing and plenty of exercise are adopted much of 
the sallowness will disappear ? Exposure to all sorts of weather 
without a veil also roughens and yellows the skin, but its worst 
enemy is a dormant liver. 

An old test to discover what is becoming to the skin is to put 
the ungloved hand by the color, and if it looks well the f^ice 
will. This loses force when we remember that many have 
whiter hands than complexions, and vu'e versa. Another plan is 
to dress in a shade that exactly matches the eyes, but this restricts 
the wardrobe to one color, and such gowns lack the spice of 
variety said to be necessary for our well being. Find out what 
is becoming, and then cling to those shades, be they three or six. 
In these days of combinations of colors and materials many 
changes may be rung upon even three colors for the groundwork. 
It costs no more to dress becomingly than to make a "guy" of 
yourself, and in the former case you will be happier, and thus 
diffuse more happiness around you. 

62 



CHAPTER XVL 

HEALTHFUL AND STYLISH DRESSING. 

IT SEEMS to be the fad of many writers and talkers to prate 
of all fashionable gowning as being unhealthy, as though 
health and homeliness grew like twin cherries upon the same 
stalk. Fortunately, many women do not dress in a manner 
calculated to injure their health, but some always did so and 
probably will continue in the same path, but in the mean time 
the race is improving, and, as a rule, women dress in a more 
healthful manner now than since the days of the classically garbed 
Grecian maiden. 

Health is the greatest blessing Providence can bestow upon 
a woman, yet there is sufficient original sin in human nature 
to implant the desire within the heart of every woman to look 
stylish and to dress becomingly as well as healthfully. The 
essence of style is a birthright and cannot be imparted, but 
proper materials and designs and becoming colors will give a 
gown a certain amount of style, especially if combined with a 
modicum of originality. As a general rule, do not anticipate 
fashions; neither be too modest and fail to grasp an opportunity 
to have a pretty, stylish gown, which gives the wearer a feeling of 
universal good fellowship with her sisters and adds to her confi- 
dence and happinesss. 

In selecting a stylish, healthful attire, commence at the very 
foundation and wear well-fitting underwear. 1 thoroughly believe 
in pure wool being worn next to the skin, and especially when 
one is subject to colds, etc. For this reason 1 suggest the ''Mat- 
telutz" steam-shrunk sanitary underwear, a vest and drawers or a 
combination suit of pure wool or a mixture of wool and cotton. 
These garments have a delightful feeling of softness and warmth 
without weight and are well fitted, thus not adding to the ap- 
parent size of the figure, and they carry out the principle of a 
combination of light weight and warmth. The "Mattelutz" 
steam-shrunk underwear' is easily kept soft and in perfect shape 
if properly washed. Soak it for forty minutes in a suds made of 
Ivory soap and water as warm as the hands can endure; a little 
ammonia may also be added. There is economy and convenience 

63 



as well in using this soap for such a purpose, as it floats, and is 
thus ever in sight when needed, in place of melting away under 
the water. Cleanse by drawing through the hands, but do not nib 
on a washboard. Rinse in lukewarm water, and either force out 
the water with a clothes wringer or squeeze between the hands. 
Do not twist the pieces dry. Lay each piece out flat to dry and 
iron on both sides while slightly damp. The all-wool and cotton- 
and-wool underwear should be thus washed. 

Now comes the one article that is ever a bone of contention — 
the corset; yet this much-abused piece of womanly attire brings 
comfort, health and style in its wake if properly applied. If a 
corset is of a proper fit it will feel comfortable and cannot injure 
the wearer. If it does not fit that is your fault, and not the 
corset's. 1 have told my readers in the different chapters on 
''Fitting Unusual Figures" and '! Maternity Gowns" how to select 
a corset or corset waist as one may prefer. These instructions 
have been revised by an expert corset fitter, so no one can 
do better than to follow them. Remember that when you cannot 
feel your body move in a corset when bending that it is too tightly 
laced, and this I most strongly oppose. There is no pressure 
unless the lacing is wrong or the corset incorrectly fitted to you. 
Remove these difficulties and you will have an improved form and 
health as well. 

As for hosiery, every well-dressed woman knows that black 
stockings are universally worn. Those stamped "Louis Herms- 
dorf, Dyer," will be found most satisfactory, for all grades of 
hosiery thus dyed have the same care and show the same stainless 
result, making the manufacturer a benefactor of the human race. 
Personal experience is the best teacher, and 1 have worn stockings 
of this dye for years without one pair ever crocking the clothes, 
staining the llesh or fading when washed. 1 have yet to hear of 
a pair of the genuine Hermsdorf black dye hose proving the con- 
trary. This explains why black stockings are now worn by both 
sexes so much and upon all occasions by children and adults. 
The stockings are kept up by a hose supporter that may be fas- 
tened to the side of the corset or be attached to the regularly fitted 
belt, as the supporters are of both styles. The garter is so injuri- 
ous in stopping the circulation of the blood, if worn sufficiently 
tight to keep the stocking smooth, that 1 need not say anything of 
its disadvantage. 

The shoes must be selected according to the shape of the feet, 
as one may wear with comfort pointed toes, while the next comer 

64 



can only walk with the broad toes and low heels. 1 must draw 
attention to the fact that low ties on the street, however, require 
overgaiters on a cool day or stiff ankles and a severe cold may fol- 
low the exposure. Lace all shoes firmly over the instep, to keep 
the foot from pushing forward. 

In the matter of muslin underwear there are many minds 
regarding chemises versus underpetticoats and corset covers. 
The two latter take the place of the former and show less full- 
ness at the waistline. Stout tigures may have drawers and 
petticoat fitted to a deep yoke with a drawing string from the 
side. Do not put buttons on a piece of underwear, except corset 
covers, unless you wish them to show through the dress at the 
waistline. Poth stout and thin figures can wear the Heath Health 
Belt which v 11 improve their appearance, afford a support and 
reduce obesity. I know that practical ideas have generally been 
omitted in the belts sold for this purpose, but this one is indorsed 
by physicians and is extremely practical in all its details. The 
belt may be had separate from the skirt or attached to a silk petti- 
coat. In the former case it can be sewed to any skirt, or it is 
worn over all of the petticoats without attaching one to it. Un- 
like all other belts it is not worn up around the waistline, but fits 
over the hips. It is boned so as to support the abdomen, and 
being made up with elastic and peculiarly fitted it remains in 
position when the wearer is sitting or walking. When a woman 
is obliged to be on her feet much or is unduly stout such a belt 
becomes an absolute necessity to her. 

With light-weight wool drawers, a cambric petticoat, flannel 
petticoat, and then a silk, alpaca, sateen, etc., petticoat sewed to 
one of these belts, or to a deep yoke, one can be warmly dressed 
and yet not have any heavy weight to be dragging over the hips. 
The upper part of the body will be sufficiently clothed with the 
woollen vest, corset and corset cover. If a chemise is preferred, 
omit the short petticoat and corset cover, wearing the corset next 
to the undervest. There is nothing particularly reforming about 
this style of dress, but it is light and warm and will be comforta- 
ble to wear. Let your dress skirts be cut short enough not to 
touch the ground when walking. Never have them of very 
heavy material; interline them with haircloth of a light weight, 
and line with Nubian fast black percaline. A skirt can be of a 
fashionable cut without being extremely wide, and every half 
yard adds to the weight. Use a Clinton skirt supporter to keep 
the skirt firmly attached to the waist at the back, as it removes 

65 



the weight from the hips and keeps the skirt of an even length 
all around without any sagging at the centre back. 

Many ladies of a stout figure prefer woollen tights to drawers, 
as they are a closer fit. Then they can also have their silk, alpaca 
or sateen petticoat lined with flannel attached to a Heath belt and 
omit the flannel petticoat, thus reducing the number of yokes to 
be worn and the quantity of skirts at the same time. If a petti- 
coat is three yards wide, trimmed with a lo or 15 inch ruffle, and 
has a velveteen binding with featherbone run in it, the skirt will 
be held out and the petticoat never flap around the ankles. A 
flannel-lined silk or sateen petticoat sewed to a Heath belt and 
tights need be the only articles around the hips of a stout figure 
besides her corset. She can also wear a low-neck, sleeveless 
Swiss -ribbed undervest for a corset cover, as it fits itself over the 
corset without a particle of fullness. 

Do not wear a long, heavy cloak when walking, as it Haps 
around the ankles so as to impede progress and proves a dead 
weight from the hips down. If the legs are cold warm them 
with woollen drawers, and not with heavy dress skirts and long 
wraps. Keep the extremities warm and the dress light and do 
not follow the extremes of fashion, for they cannot fail to interfere 
with health. In the mean time, keep up with the reigning 
fashions, but adapt them to your especial needs. Just how to do 
this is one of the aims of this little book, as I claim that every 
woman should be garbed becomingly and heiilthfully ; it costs no 
more, will prove a rational manner of dressing and render the 
world more refined and artistic. 

Well-fitting gloves round out a stylish toilette for any occa- 
sion. If for travelling, shopping or outing, a pique glove is 
advisable, as it is of a heavier kid and has a tailor-like finish that 
is especially suitable for such costumes. For visiting and dressy 
wear a fine glace kid is recommended in tan, brown, gray, mode, 
white, etc. Both styles have the new large Foster hooks and are 
to be recommended for their utility and convenience. They 
readily fasten and unfasten; do not wear out the fingers and 
patience, and can be made to fit anv size of wrist. Do not culti- 
vate the habit of buying cheap kid gloves, for one pair at $1.50 
will usually outwear two pair of the $1 grade, and look better as 
well. It is worth while having a glove that is well-fitting, dura- 
ble and convenient to fasten, as no other article adds more to the 
general finish of a stylish toilette, and I have found this make of 
gloves worthy of this reputation. 

66 



CHAPTER XVIL 

TO RENOVATE MATERIALS. 

PARTLY worn silks, dress goods, laces, ribbons, velvets, etc., 
may be renovated and made over in these days of combi- 
nations of fabrics and colors in a manner to delight an 
economical woman. Do not try to make over anything too old 
to repay you, and from the beginning remember that unless the 
work is done with care it will not be worth the time spent upon 
it. If you have really handsome goods to be dyed or cleaned I 
would advise sending them to a professional dyer, as they can, of 
course, get results far beyond the housewife. Such a house as 
Lewando's can make a renovated material look like a piece of new 
goods, following the French method, which is considered the 
best in the world. Two old gowns may often be dyed to- 
gether and one new dress evolved from them. Badly faded 
goods will not dye well in bright colors; all colors dye black 
nicely. The colors that cover fading and staining the best in 
dyeing are black, brown, green, olive, plum and maroon. Crape 
can be refmished to look like new and made as near waterproof 
as can be expected. If, however, the cleaning must be done at 
home remember it is apt to roughen the hands, necessitating the 
use of a vegetable oil soap, like the Ivory, to counteract all such 
effects. 

First rip up each article, using a penknife or small pointed 
scissors; pick out all the threads and shake each piece. Then 
brush woollen goods with a whisk and dust silk, ribbon, velvet 
or bead trimming by rubbing with an old silk handkerchief. Put 
the buttons, ribbons, laces, etc., in boxes properlv marked and 
tie up the different materials in separate packages, ready for the 
cleaning, dyeing or sewing, as it may be. I cannot advise any one 
to use old linings, as, when washed, they will shrink out of shape 
and size, and it is impossible to fit or hang a dress properly unless 

67 



the linings are cut exactly right, as 1 have explained in the 
chapters on cutting and fitting. Wash and iron the linings taken 
from partly worn gowns, if they are worth it, and keep to use 
for children's frocks, which they will cut down to. 

In using any cleaning fluid remember that benzine and 
naphtha are very explosive when brought in contact with fire. 
Benzine sometimes leaves a stain like water. Always try a piece 
of the material to be cleaned first, to see the effect. When 
sponging a fabric do it with downward strokes and use a wad of 
the same material or similar to it. 

A good quality of black silk cleans well and repays one for 
careful handling. If too shabby to make up as a dress use it 
for a petticoat. If worn for the latter garment be sure and put 
ruffles of taffeta on it. for no other silk has the same stand-out 
tendency as taffeta. Have a clean, smooth table to sponge your 
silk upon, and rub on the surface that will be worn out. Here 
are several fluids for sponging black silk, and all are excellent: 
Equal parts of warm water and alcohol; cold coffee, made strong 
and well strained ; stale beer ; water in which an old black glace kid 
glove has been boiled, using a pint of water to a glove and boiling 
it down to half of that quantity. Cut the selvedge here and there 
of each straight width, to prevent any drawing. Hang each piece 
on a line to drip nearly dry, and then iron on what will be the 
wrong side with a moderately warm iron, putting a piece of thin 
black crinoline between the iron and silk. Lay the pieces away 
without folding them. 

A very hot iron often discolors silk. If a white silk handker- 
chief was ironed with a cold iron, and with a linen handkerchief 
between the iron and silk, the latter would not yellow. Clean 
black ribbons as you do silk. Clean colored silk with water in 
which a kid glove the color of the silk has been boiled, using a 
new tin pan to boil it in; strain and add a little hot water and 
ammonia. Wash in this and put half a teaspoonful each of borax 
and spirits of camphor to a quart of the rinsing water and hang 
each piece up until it dries, but do not iron. Another authority 
says that ribbons snould be washed in a lather of cold water and 
Ivory or any other perfectly pure soap, and should be ironed 
while damp, using a cloth under the iron. To remove the creases 
from silk dip each piece in a bath of naphtha and hang up to dry. 
Any unpleasant odor is removed by hanging articles thus cleaned 
in the open air. 

A good black woollen gown should be in every wardrobe, 

68 



for its utility, general convenience and fashionable qualities, and 
such goods as serge, cheviot, cashmere, Henrietta, etc., are easily 
cleaned. First remove the grease spots with naphtha, remember- 
ing that this fluid is very explosive when exposed to either a lamp 
or tire. If your black goods are of a rusty color send them to 
Lewando's to be redyed. Clean mud and ordinary spots from a 
black dress with a rag of the same wet with warm water and 
ammonia. Never rub on the washboard a silk or woollen fabric 
that is being renovated, nor wring it tightly by twisting in the 
hands ; either put it through a wringer or pat it nearly dry between 
the hands. To clean black goods make a lather of warm soapsuds, 
usmg a good soap without free alkali, like the Ivory, as a strong 
soap will ruin the goods, and a teaspoonful of borax to every two 
quarts of water. Into this dip the goods up and down and wash 
between the hands ; then wring gently and pat partly dry ; hang 
in the shade, and when nearly dry iron on the wrong side with a 
moderately warm iron. Always rinse once in lukewarm water, 
and iron until the material is perfectly dry. Wash alpaca in the 
same manner as above, adding a little gum-arabic to the rinsing 
water. 

Remove grease from colored cashmere with French chalk. 
Rub it on the spot, then let it remain overnight, and in the 
morning brush off; if necessary repeat the treatment. Wash a 
colored woollen fabric, as cashmere or serge, in warm water, 
putting a teaspoonful each of beef's gall and ammonia to a pail 
of water. Have the rinsing water ready, with a small portion of 
beef's gall in that, and wash and rmse quickly; dry in the shade 
and iron on the wrong side with a warm — not hot — iron. 
French chalk can be used on any color and material. Benzine 
will remove paint — it is very explosive — and if it leaves a stain 
like water it may often be removed with French chalk. Grease 
is also removed by rubbing the spot with a lump of wet mag- 
nesia and after it is dry brushing off the powder. Remove all 
grease spots before further cleaning a piece of silk or woollen 
goods. 

The best cleaners are the French people, and they do not 
advise ironing lace, but if it is done have the ironingboard well 
padded and put a cloth between the lace and iron. Do not dry 
black lace by the fire or it will turn rusty. Wash black lace in a 
pint of warm water with a teaspoonful of borax dissolved in it, 
and use an old black kid glove for a wad to sponge it with. 
Borax, diluted alcohol, beer, strained coffee, and water in which 

69 



a black kid glove has been boiled, are all excellent renovators for 
black laces, as is also cold strained green tea. White cotton laces 
are washed in a warm ivory soapsuds,, rinsed, boiled, rinsed for 
the second time, patted nearly dry, and then pinned down on a 
clean towel over a smooth bed or pillow. Every point of the 
scallops must be carefully pinned down mto shape. Lace that 
has yellowed from age may be whitened by covering it with the 
same soapsuds and allowing it to stand in the sun. Grated 
breadcrumbs will clean lace that is not much soiled. The French 
dyers referred to renovate lace as beautifully as they do silk and 
woollen dress materials. They also mend laces of all kinds and 
restore real laces as well. 

A creamy ecru shade may be given to white lace by putting 
strained coffee or powdered saffron in the rinsing water until the 
color is obtained. All laces should be soused up and down and 
gently squeezed or clapped dry between the hands. White silk 
laces are cleaned by soaking them in milk overnight, then they 
should be washed in warm Ivory soapsuds, rinsed, pulled out, 
and finally pinned down on a towel while damp. Delicate laces 
are also cleaned with calcmed magnesia. Spread the lace on 
clean white paper, sprinkle both sides of it with magnesia, place 
a second piece of paper over it, put it away between the leaves 
of a large book for a few days, and finally shake off the powder. 
Gold and silver laces are cleaned with grated breadcrumbs mixed 
with powdered blue. Sprinkle this well-mixed preparation over 
the lace for a few hours, then brush off the crumbs with a piece 
of flannel and rub the metal gently with a piece of red velvet, 
the color of which is as important as the material, though 
why this is so no one can tell, unless it is some property of the 
red dye. 

White crocheted shawls are cleaned by covering them for a 
night with Hour or white cornmeal; then shake them well, and if 
not perfectly clean repeat the treatment. The stockinet and good 
rubber dress shields can be washed in warm suds made with 
Ivory soap, which is pure, pulled into shape, and dried by pin- 
ning them up in a window. Japanese, China and pongee silks 
and handkerchiefs should be washed in warm water, rinsed at 
once and dried in the shade. When nearly dry iron with a cloth 
between the silk and iron. Soak genuine whalebones, when bent, 
in warm water, and then at the end of thirty minutes iron them 
out with a hot iron. Navy-blue flannel dresses should be washed 
in bran and water without any soap, but with a cup of salt to set 

70 



the color. Soft water is always the best for cleaning, or hard 
water may be softened with a little borax or ammonia. When 
jet passementerie looks dusty and rusty uipe it off with a wad 
of black silk or cashmere dipped in diluted alcohol, and finally 
wipe dry with a clean rag. 

Remove grass stains with alcohol, which seldom spots even 
the most delicate color. They can be removed from muslin with 
molasses. In each case keep covering the stain until it fades out. 

A cleansing fluid that has been very highly recommended to 
me by a practical woman pharmacist is made as follows : Gasoline, 
one gallon; ether, one teaspoonful; chloroform, one teaspoonful; 
ammonia, two teaspoonfuls; alcohol, one gill. Mix well, and do 
not use near a lire or in a closed room. Do not use the last half 
cupful if cleaning delicate colors, as the ammonia settles and will 
discolor light fabrics. Buy the last four drugs in quantities of an 
ounce, as it will be cheaper in the end, and keep for future use 
what is not needed at once. 

This fluid cleanses silk and woollen materials and does not 
shrink the fabric, leaves a new finish, does not yellow white, can 
be used on the most delicate colors and fabrics, and is very cheap. 
Pour out sufficient of the fluid to cover the article to be cleaned, 
using a china washbowl or new tin pan. Put the article in and 
wash as you would in water, rubbing the soiled spots especially 
with an old soft toothbrush on a flat surface. Wring out from 
this and rinse in a second portion of the fluid; wring out again 
and hang in a draught until the fluid evaporates. Save the remain- 
ing fluid as it can be used a second time on dark materials, 
like men's clothes, black dresses, carpets, etc. If the article is 
too large to put into the fluid use a sponge or cloth similar in color 
to the soiled fabric. This cleanser will not remove stains made 
by syrup or sweets, which must first be washed in water. 

There is a waterproof crape for wearing in damp weather, but 
if the ordinary crape is worn and gets rusty and slimsy, as it will 
in time, it can be renovated at home after a formula that I have 
personally tested manv times. Rip out the hems of veils, brush 
away all dust with an old silk handkerchief, and wind the crape 
smoothly, catching it with pins, around a broomstick or clothes- 
stick. Fill the washboiler half full of water, and when it boils lay 
the stick across it, the ends resting on the edge lengthwise. Keep 
the water boiling hard and steam the crape all day, turning the 
stick so that every part of the crape may be reached. Then put 
the stick away for twenty hours, as the crape must be perfectly 

71 



dry before unpinning it. This will make it retain a good black 
color and it will be crisp to the touch. 

When black or colored velvet has the pile crushed and is 
creased, it can be easily renovated at home. Have a pan of boil- 
ing water on the stove, and over this hold the wrong side of the 
velvet. Let it be thoroughly dampened with the steam, and 
then induce a second person to assist you in the good work by 
brushing the right side of the velvet with a whisk, stroking the 
pile up briskly until it seems capable of standing alone; then lay 
that piece aside to dry and take another one. White ostrich 
feathers are cleaned with flour or naphtha, and all are easily dyed 
black. They are curled by first heating them slightly, and then 
curl each tlare over a dull knife ; but if near a feather curler I would 
advise patronizing her, as the professionals do it far better than 
any amateur can. When feathers are worn in the rain or damp 
they should be dried at once over the stove, which generally 
restores the curl. 

White and light-colored kid gloves are cleaned on the hands 
with naphtha — remember its explosive qualities until the gloves 
are perfectly dry. Put on one glove and rub it with a clean piece 
of white flannel dipped into naphtha; wet it all over, and then 
rub nearly dry with a second piece of flannel. Do the second 
glove in the same manner, and let them remain on the hands 
until dry, in order to retain the shape; then hang in a window 
until the odor has left. A sachet bag of white rose and orris-root 
powder in your glove box will keep gloves delightfully perfumed. 




72 



There is but One 

Perfect Interlining* 



THAT IS 



HAIR CLOTH. 




Cl)i$ is m onlp 
Srift Clastic ana 
Resilient Interlining 
maae. ana it Das 
prooen itself a 

''SuroiualorUK 
Fittest/^ 



We Arc the Best and Largest Manufacturers 
of Hair Cloth in the World. 

The Fashionable Flare Effect in Skirts can only be obtained with Hair 
Qoth. 

STANDARD HERRINGBONE for Skirts - 

Styles 10/4, 14/4, JO/5, 20/5, in Grey or Black. 

PLAIN OR FRENCH for Skirts and Sleeves. 

Styles 84/3, 98/3, 146/3, 170/3, 206/4, in Grey, Black or White. 

"Write us for samples and remember, ^^ There Is No Substitute'^ and the 
'^Best Is the Cheapest.'' 



AMERICAN HAIR CLOTH COMPANY, 



Charles E. Perveab, Agent, 
PAWTUCKET, R. I. 

13 



Angularity and Awkwardness 

are more often caused by habit 
than by nature, and are frequently 
the result of a poor foundation. 

Aim to start right, then what follows is easy: 

The 




Corset is the foundation of a 

correctly gowned woman. 



Among the R & G Corsets 
will be found the corset 
for the 

extra £otig Waist, 
medium Waist, 
SDort Waist. 



Unusual forms 

fitted with ease. 



To be had in the 
leading dry goods stores 
or apply to 




ROTH & GOLDSCHMIDT, 

Manufacturers^ 
361 and 363 Broadway, New York. 



74 



Home Dressmaking. 



cannot be done without a good 



^kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkikikkkkkkikikkkkkkkkkkkkkkkkkkkkkkkkkki^ 



:3 

I paper pattern. | 



We can furnish you with Original French 
Fashions in a medium size for from 

^ ^ ^ ^ 25 * Up 



for each pattern. 



SIZES. — 50-inch bust ; 4 1 -inch length for si<irts and 
24-inch waist. 



Wadeup Paper patterns for 
Dressmakers* 

The leading Fashion Journal is 

L'Art de la Mode, 

Per Year, = $3.50 l containing only the Latest 

Six Months, $2.00 ^ lT,T" -^"^^ Original Designs. 

Single Numbers, 35c. 
Send 2=cent stamp for Sample Copy. 

PUBLISHED MONTHLY BY 

ZU morse BrougDton Companp, 

3 East 1 9th Street, New York. 

75 



Th e H eath H ealth Belt. 

It is sold separate from the petticoat. 

Can be applied to any petticoat. 







' ^Shg 


1^^ 


It Reduces 
Obesity. 


It Is a 
Boon to 
Every 
"Woman. 




^^L^^ 




It Affords 

Abdominal 

Support. 

It Removes 
That Tired 
Feeling. 


Once Worn 
Will Not 
Be Discarded. 




f 


} 


It Gives a 
Better Fit to 
the Skirt. 






Is Practical 

and 

Healthful. 






mmttB 





With a Silk Petticoat, in colors or black, this Health Belt is from $10 to $25, 

The Belt Alone Is $5.00. 

This belt is endorsed by Physicians 

and by Every Woman wearing one. 



Sole Maker and Patentee, 



Mrs. MARV HE:ATH, 

114 FIFTH AVENUE, NEW YORK. 

76 












.. THE 

"CAHEO" 

HOOKS AND EYES 

will attract the attention of every pro- 
fessional and amateur dressmaker. They 
have a short, narrow bill ; are strong, dura- 
ble, easy to fasten and unfasten, but will 
not open when they should remain closed: 

Do Not Wear Brassy. 

BEST JAPAN FINISH FOR BLACK HOOKS AND EYES. 
BEST NICKEL FINISH FOR WHITE HOOKS AND EYES. 

Will Not Rusx. 
A PATET^T AUTOMATIC MEASURE 

(nickel plated), 

for measuring hems, tucks, distances between buttons, 
buttonholes, hooks and eyes, rows of braid, drawn- 
work, etc., is attached to every card. 

ASK YOUR MERCHANT for "Cameo" Hooks 
and Eyes with the measure ; if you cannot procure them 
refuse any substitute and write to us, sending the name 
of your merchant, and we will see that you are supplied. 
Address 

The '* Cameo " Hook and Eye, 

259 CANAL ST., NBW YORK. 













The New 
Street and Bicycle 



GLOVES 



MADE BY 



^^v^^h 



are practical, durable and well fitting, and bear these 

brands : 



PRICE, 




$i 50 



Per Pair. 

They are sold by leading dry goods firms of the U. S. 




Perfect=fit= 
with improved 
do not catch 
cidentally un= 




m 

ting wrists, 
hooks, which 
in lace or ac= 
fasten. 



When buying Kid Gloves see that they are stamped : 
''Manufactured by Foster, Paul & Co." or "Foster's Patents." 
This assures well-fitting and durable gloves and improved large 
hooks. 

78 



Three Indispensable Artieles. 



The Clinton 
Skirt Supporter 

Which is readily adjusted and keeps the 
waist and skirt from becoming separated. 
This recommends itself to every woman 
wishing to have a neat, stylish appearance 
when wearing a round waist. 









The Clinton 
Safety Pin. 

Made in rolled gold, sterling silver, 
nickel plate and black. This is the 
best constructed and most desirable 
Safety Pin ever made. 




The Best Pins for Dressmaking 
and Personal Use. 

Sharp points and won't bend. 

An absolute necessity for every 
woman sewing. 
All of the leading merchants have these goods, or apply to 

^he Gakville Company, 

WATERBURY, CONN. 



NEW YORK OFFICE, 
48 HOWARD ST. 



79 



Half of the Success in Home Sewing 



IS IN USING A 



Perfectly Reliable Thread. 



This can be secured by asking for 






ON 




^im 



FOR , . 



Hand and 

Machine 

Sewing 

// remains unsurpassed. 

It is wound on 
White Spools. 



Needles are equally important. 



If you have not used 



Milward's 
Helix Needles 



You have missed much 
comfort in sewing. 



J.r.MIIWAP.D 




FOR SALE EVERYWHERE. 

80 



CDe One Brana of Fast Black 
Cotton Drc$$ Cinings 

for Boti) m iUaist ana Skirt 



IS THE 



I Nubian I 



▼ 



It WILL NOT STAIN OR CROCK 

the flesh or underwear, and always 
remains the same unchangeable, reliable 

black* e^ e^ e^ e^ 

The MOIRED PERCALINE has the 

rustle and appearance of silk for a small 
cost ; the stiff-finished CAMBRIC ranks 
next for SKIRT linings* ^ ^ 

For a WAIST try the soft-finished 
percaline or silesia, or sateen, and they 
will be fit for the handsomest gown. 

Such a lining adds to ttie style or a costume. 

Look for this on every yard oflhe Selvage. 



^{,0^(^l^>,^cwt 



All Leading Dry Goods Stores. 

8i 



If pou kneu) 



the* results of our Dyeing and Cleansing 
you would 



Many times the materials of two 
old dresses will make one new one, if 
properly cleansed, dyed and refmished. 



SAVE MANY 
DOLLARS, 



WE DYE ALL COLORS. 

Remember, ours is the largest concern in this Hne in America, 
and we keep in advance of all competitors. Established 1829. 

We ape or Cleanse and refiniSl) eDCrptbinS in the best 
possible manner, and by our own processes. 

IF IT'S WORTH SAVING— SEND IT TO LEWANDO'S. 



^5 Book of Useful Information sent free. cS 

g^ BUNDLES BY MAIL OR EXPRESS. W: 



LEWANDO'S 

French Dyeing and Cleansing 
Establishment,^^^' 

MAIN OFnCES: 

479 Fifth Avenue, New York City. 
17 Temple Place, Boston, Mass. 

Lace Curtains, Blankets, Rugs, Portieres, Gloves, Feathers, 

Real Laces, Velvets, Plushes and Clothing of all kinds fo'' 

men, women and children cleansed or dyed in 

the very best manner, at reasonable prices. 

82 





Stronu L.. 



IJ..X.,... 



Our Stones and Methods arc Snvaluable 
^ in the dressmaking Jlrt. 

SEE US DEMONSTRATE AND BE CONVINCED. • 



a,5*^*^* 



Bones and Methods cheerfully shown 

AT ANY OF OUR DrESS BoNING PaRLORS. 



Dressmakers and others who are interested are cordially 

invited to call at our Parlors where the process ot 

Boning will be carefully explained, and instructions given 
without charge. 

For printed directions apply at the parlors or address 

WAPPEN PEATHERBONE CO. 

Patentees and Manufacturers, 

THREE OAKS, MICH. 



NE^v York Office, 907 Broadway. 

Chicago Office, 720 INIarshall Field & Co. Building 




Dress Boning Parlors : 

907 Broadway, New York. 

722 Marshall Field & Co. Building, 

Chicago. 
40 West Street, Boston. 
1113 Chestnut Street, Philadelphia. 

The accompanying cut 
illustrates the use of the 

Featherbone Tapes 

for collar, cuff and rever 
stiffening and our 

Sleeve Extenders 

or Duplex Skirt Bone in 
sleeves. The smooth effect 
of the waist is secured by 
stitching our waist bone in 
with a sewing machine. 



85 



The Woman s 
^ Bicycle 




In strength, lightness, grace, and 
elegance of finish and equip- 
ment Model 4 1 Columbia is un- 
approached by any other make* 

Columbia 

saddles are recommended by riders and phy- 
sicians as proper in shape and adjustment, and 
every detail of equipment contributes to beauty 
and the comfort and pleasure of the rider* 




100 



The Columbia Catalogue, 

TO ALL handsomest art work of the 

_ year, is free from the Columbia 

ALIKE, agent, or is mailed by us for 

two 2-cent stamps. 



POPE MFG. CO., Hartford, Conn. 



Branch Stores and Agencies in almost every city 
and town. If Columbias are not properly repre- 
sented in vour vicinity, let us know. 



All Columbia Bicycles are fitted with 
HARTFORD SINGLE-TUBE TIRES 

UNLESS DUNLOP TIRES ARE ASKED FOR. 

WE KNOW NO TIRES SO GOOD AS HARTFORDS. 




^^^id't^ 



I TRRARY OF CONGRESS 

HiPj 

013 960 025 3 Jll 



i 



